Zen-G - Hüküm - Chord

Key Bb major – G minor Chords Dm, Eb Easy key C

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Capo 0

Dm  Eb  Dm  Eb

        Dm
Kaderin benim elimde ama

Kelepçeli be halime
Eb
Üzülseydim dönerdim jiletçilere
       Dm
Kafanı topla, takılma çok gerekçelere
       Eb
Arkanı yokla, çok güvenme gönül çelene
      Dm
Ateşe atta bırakma beni yine çileme
      Eb
İçimi döktüm bitmeyen gecelerime
         Dm
Bi' daha yazdım her satıra hecelerime
       Eb
Bir an gelecek hepimiz sessizce gidicez

     Dm
Bulunmaz bi' kumaş da değil ki bu aşk
      Eb
Gözün kara belli ama dur haddini aşma
Dm
Dönmeli baş, onun kalbi bi' taş
      Eb
Kafam karışık, fikirlerim keskin viraj
   Dm
Uçurum'da dolaş, sakın olma yavaş
      Eb
Belki bugün kaybederiz ama yok mu rövanş
   Dm
Umurumda değil kafa çokça salaş
     Eb
Gereksiz bu telaş, rahat ol ve yanaş

  Dm              Eb
Yakıyor yakamoz gecemi
     Dm                 Eb
Tadı yok gereksiz bu hissizlik
      Dm           Eb                    Dm
Bi' çıkış arıyor, içeri tıkıldım kaldım, yak
               Eb
Sebepsiz bu sensizlik artık

Dm         Eb
Ciddiysen otur, konuşalım bir kere
Dm             Eb
Hiç değilse, sürsün mümkünse hükmün
Dm         Eb
Bittiyse doldur, içelim şerefine
Dm         Eb
Gittiyse n'olur, kavuşuruz bir gün

    Dm        Eb
Hak etmi'cen ama canın sağolsun
Dm          Eb
Gitmi'cen n'olur sağ olsun
Dm          Eb
Bekli'cen sonsuz
   Dm          Eb
Vazgeçmi'cen zorsun, canın sağ olsun

Dm         Eb
Ciddiysen otur, konuşalım bir kere
Dm             Eb
Hiç değilse, sürsün mümkünse hükmün
Dm         Eb
Bittiyse doldur, içelim şerefine
Dm         Eb
Gittiyse n'olur, kavuşuruz bir gün

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Zen-G - Hüküm Tabs

NotesX

Harmony analysis

Zen-G – Hüküm: key and chord analysis

The song opens on Dm and ends on Eb. 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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.

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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	26×
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	26×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
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	—
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	—
v	Dm	Minor dominant — soft pull	D · F · A	26×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	26×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 2 different chords appear 52 times in total; 2 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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 first chord is Dm; the ear learns where home is within a second. Dm, Eb carry the song: iii–IV relative to Bb, v–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Eb; 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.