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)
Mavi Gri - Senin Hakkında - Chord
Key Bb major – G minor Chords Ebmaj7, Gm, Dm, F, Cm Easy key C
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Key: Bb | Gm
Capo: 0
Gm Ebmaj7
Aslında ne kadar çok şey var aklımda benim
Gm Ebmaj7
Anlatsam sana her şeyi bir bir başka ne isterim
Dm Gm Ebmaj7
Korkumdan mı utandığımdan aşkımdan mı
Dm
Suçu kendimde buluyorum
Gm F Ebmaj7 Cm
Yaklaşma ya da öyle uzak durma
Gm F Ebmaj7 Cm
Benim sana ağlarken gülmeye gücüm yetmez
Dm Ebmaj7 Gm F
Hakkında ne kadar çok şey varsa seviyorum
Ebmaj7 Cm
Uzun sürecek beni yok edecek
Dm Ebmaj7
Bu telaş biliyorum
Gm F Ebmaj7 Cm Gm F Ebmaj7 Cm
Dm Ebmaj7 Gm F Ebmaj7 Cm Dm Ebmaj7
Gm Ebmaj7
Farkında değil misin her şeyim oldun sen benim
Gm Ebmaj7
Aşkından bir damlacık içsem sarhoş eder beni
Dm Gm Ebmaj7
Geceleri yalnız ve hüzünlü veda saatleri
Dm
Hiç olmasın diliyorum
Gm F Ebmaj7 Cm
Yaklaşma ya da öyle uzak durma
Gm F Ebmaj7 Cm
Benim sana ağlarken gülmeye gücüm yetmez
Dm Ebmaj7 Gm F
Hakkında ne kadar çok şey varsa seviyorum
Ebmaj7 Cm
Uzun sürecek beni yok edecek
Dm Ebmaj7
Bu telaş biliyorum
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Mavi Gri - Senin Hakkında Tabs
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Harmony analysis
Mavi Gri – Senin Hakkında: key and chord analysis
The song opens on Gm and ends on Ebmaj7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 15 times while Bb never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 9× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 10× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 21× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 15× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 15× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 9× |
| v | Dm | Minor dominant — soft pull | D · F · A | 10× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 21× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 9× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 64 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×7
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
- Cm Gm Bbii → vi Gmiv → iminor plagal ×3
The move to watch is Ebmaj7 → Gm, heard 7 times. From the Gm side it is VImaj7 → i (VI → i: falls a half step into home); from the Bb side it reads IVmaj7 → vi. 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 Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Ebmaj7, Gm, Dm, F carry the song: IVmaj7–vi–iii–V relative to Bb, VImaj7–i–v–VII relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Gm (IVmaj7 → vi in Bb, VImaj7 → i in Gm): VI → i — falls a half step into home. The final chord is Ebmaj7; the ear comes to rest in Bb.
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.
Mavi Gri - Senin Hakkında Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: Akif AlkanMusic: Engincan Onar
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