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)
Kemal Karakuş - Bu Aralar - Chord
Key Bb major – G minor Chords Dm, Cm, Gm, Ebmaj7, Bbmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Dm Cm Dm Ebmaj7 Dm Cm Bbmaj7
Gm Dm Cm Dm
Birden çıktın karşıma nefes alamadım
Gm Dm Cm Dm
Bedenim dondu adım atamadım öyle kalakaldım
Ebmaj7 Dm Cm Dm
Bu nasıl güzellik Allahım aman değmesin nazar
Ebmaj7 Dm Cm
Aklımda sen varsın bu aralar
Gm Dm
Başıma ne geldi anlamadım
Cm Dm
Gözlerine bakınca şaşırıp kaldım
Ebmaj7 Dm
Dilim tutuldu adını soramadım
Cm Bbmaj7
Geçip gittin öyle güzel
Gm Dm
Sarıydı saçlar gözler ela
Cm Dm
Kırk yılda gelir böylesi başa
Ebmaj7 Dm
Bir de benim olsan bambaşka
Cm Bbmaj7
Adın neydi söyle güzel
End of song Play again?
Kemal Karakuş - Bu Aralar Tabs
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Harmony analysis
Kemal Karakuş – Bu Aralar: key and chord analysis
The song opens on Gm and ends on Bbmaj7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it comes to rest on Bb, it opens on Gm and Gm is heard 5 times against 3 for Bb. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 3× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 10× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 16× |
| 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 | 5× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 3× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 10× |
| v | Dm | Minor dominant — soft pull | D · F · A | 16× |
| 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 | 5× |
| 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). 5 different chords appear 39 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
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is Cm → Gm, heard once. From the Bb side it reads ii → vi; from the Gm side it is iv → i (minor plagal: deep and melancholic). 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 Dm, 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.
- Over Gm, land on G, Bb, D — 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
Starting on Gm, the song gives away its key from the very first bar. The backbone is Dm, Cm, Gm, Ebmaj7 — iii–ii–vi–IVmaj7 from the Bb side, v–iv–i–VImaj7 from the Gm side. 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 Bbmaj7, the song seals Bb 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.
Kemal Karakuş - Bu Aralar 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: Kemal KarakuşMusic: Kemal KarakuşArrangement: Sinan Gerçek
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