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)
Perdenin Ardındakiler - Gözyaşlarım Ol (Emirhan Derindere) - Chord
Key Bb major – G minor Chords Gm, F, Eb, Cm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm F Eb Cm
Gm F Eb
Sözlerimde kalsam onların
Cm
Yalnızca sözlerinde
Gm F Eb
Gözlerindeki o yansımam
Cm Gm
Zamansızca silinip gitse
F Eb
Sonra gitsem o yollara
Cm Gm
Bulsam sevsem hatasızca
F Eb
Kaçmak için, bi yol bulamasam
Gm
Her gidişine bir şiir yazsam
Gm F Eb
Gözyaşlarım ol, tükenişlerim ol
Cm Gm
Yine ben burada ölürüm
F Eb
Beni onun yerine koy, aşığım ol
Cm Gm
Alkolüm ol yine kadehime dol
Gm F Eb
Düşlerinde kalsam onların
Cm
Yalnızca düşlerinde
Gm F Eb
Tuşlarındaki parmakların
Cm Gm
Sayfalarını kapatıp gitse
F Eb
Sonra düşsem o yollara
Cm Gm
Bir an bulsam İstanbul'da
F Eb
Dünyam yine yeşil olur sansam
Gm
Her gidişine bir şehir yaksam
Gm F Eb
Gözyaşlarım ol, tükenişlerim ol
Cm Gm
Yine ben burada ölürüm
F Eb
Beni onun yerine koy, aşığım ol
Cm Gm
Alkolüm ol yine kadehime dol
End of song Play again?
Perdenin Ardındakiler - Gözyaşlarım Ol (Emirhan Derindere) Tabs
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Harmony analysis
Perdenin Ardındakiler – Gözyaşlarım Ol (Emirhan Derindere): 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.
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 both starts and finishes on Gm and Gm is heard 17 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 | 11× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 13× |
| V | F | Dominant — strongest pull home | F · A · C | 13× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 17× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 17× |
| 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 | 11× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 13× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 13× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 54 times in total; 4 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
- Cm Gm Bbii → vi Gmiv → iminor plagal ×11
- Eb Gm BbIV → vi GmVI → iVI → i ×2
The move to watch is Cm → Gm, heard 11 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, F, Eb, Cm; read them as vi–V–IV–ii in Bb or i–VII–VI–iv in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. Ending on Gm, the song seals Gm as home.
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.
Perdenin Ardındakiler - Gözyaşlarım Ol (Emirhan Derindere) 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: Doruk Ereşter
Emirhan DerindereMusic: Direnç
Emirhan DerindereMusic: Direnç
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