Sezen Aksu - Büklüm Büklüm - Chord

Key Bb major – G minor Chords Gm, D7, Cm, Eb, G7, F, Bb, Dm Easy key G (capo 3)

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Capo 0

Gm  Cm  F  Bb  Eb  Cm  D7  Eb  Gm

Gm  F  Eb  D7

Gm                     D7
Ne söylesen ne beklesen
                            Gm
Yaradan'dan ya da kaderinden
          G7        Cm
Ele geçmez istediğin
            D7          Gm
Uğruna savaş vermediysen

Gm                   D7
Sevilmeden de sevmeyi
                       Gm
Neyi özlediğini bilmeyi
           G7           Cm
Acı da olsa yine gerçeği
                  D7        Gm
Görüp de söylemeyi bilmediysen

Gm              D7
Sanki seni boğar gibi
                   Gm
Sanki yeniden doğar gibi
                 G7    Cm
Sanki zaman zaman ölür gibi
                 D7       Dm  D7  Gm
Acısını, çilesini çekmediysen

Gm                Cm
Hani büklüm büklüm boynunda
D7             Gm   
Hani paramparça ruhunda
Eb             Cm
Hani soran gözlerle kapında
D7             Gm
Bekleyen dargın anılar gibi

G7                Cm
Hani büklüm büklüm boynunda
F              Bb   
Hani paramparça ruhunda
Eb             Cm
Hani soran gözlerle kapında
D7              Eb     Gm
Bekleyen dargın anılar gibi

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Sezen Aksu - Büklüm Büklüm Tabs

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Harmony analysis

Sezen Aksu – Büklüm Büklüm: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm, Gm is heard 16 times against 2 for Bb and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Bb or to Gm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	9×
iii	Dm	Mediant — a tonic-family shade	D · F · A	1×
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	12×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	6×
V	F	Dominant — strongest pull home	F · A · C	3×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	16×
V7/ii	G7	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D · F	4×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	16×
V7/iv	G7	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D · F	4×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	9×
v	Dm	Minor dominant — soft pull	D · F · A	1×
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	12×
VI	Eb	Submediant — warm colour	Eb · G · Bb	6×
VII	F	Subtonic — steps back to the tonic	F · A · C	3×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 53 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm. G7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×9
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×7
G7 Cm BbV7/ii → iisecondary resolution GmV7/iv → iv ×4
F Bb BbV → Iauthentic cadence GmVII → III ×2
Cm F Bbii → Vii → V Gmiv → VII ×2
Eb Gm BbIV → vi GmVI → iVI → i ×2

The move to watch is D7 → Gm, heard 9 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, D7, Cm, Eb; read them as vi–V7/vi–ii–IV in Bb or i–V7–iv–VI in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Gm; the ear comes to rest in Gm.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.