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)
Key Bb major – G minor Chords Gm, Eb Easy key G (capo 3)
Gm Gm Eb Eb
Tüm şarkı boyunca aynı döngü devam eder
Gm
Biz atlatırdık beraber her derdi
Eb
Nasıl ne fark eder
Gm
Tatiller de gördük senle
Eb
Düğünler ve cenazeler
Gm
Omzunda bir tohumdu aşk
Eb
Islattıkça büyüttük
Ve zamanla hep soyuldu ağaç
Kıskançlıklar çürüttü
Gülüşmemiz özgürlüktü
Sevişmemiz ibadet
Değiştiririz sandık
Fakat değişmedi inan pek
Kavgalarımız boştu
Yine de inatla et idare
Desem de olmaz 'bi daha be'
Bu daha çok eder bi' çare
Kendime diyorum yoluna bak
Dolu kafam itiyor beni bu sorulara
Sevgimiz artık o yolu kapar
Lan bu halde daha da yorulamam
Yine de kalbim sorun yapar
İhtiyaç duyarım korumana
İhtiyaç duyarım kokuna hâlâ
Sen atıp dursan da boku bana
Gittiğin sabahın gecesi diledin özür
Ve sarılıp uyuduk
Ama ben göremem kazılı kuyuyu
Başa dert olan o azılı huyunu
Ama ben bilirim sanardım
Bilirim değilsin lan teki bi' duygusuzun*
Sabaha kadar uykusuzum
Düşünmekten mutluluğu
Gm
Ben sana, sen bana kızsan da
Eb
Beraber şarkılar söylemiştik yıllarca
Gm
Şimdi n'olur dur, anla
Eb
Ne istemiştin de şimdi kaldın uzakta
Gm
Çok doğal değil mi hırslanmam?
Eb
Beraber direnmişken hayata biz ısrarla?
Gm
Lütfen, n'olur uzaklaş
Eb
Kafamdan çık git üflediğim her bi' dumanla
Ne şimdi sevgilinle olacak mısın biz gibi?
Kızacak mısın ona da çalıştığı her bi iş için?
Oldun mu sen cidden teki bi' duygusuzun, hissizin?
Haykırcak mısın onunla sevişirken ismini?
Gerçekten söyledin mi ona onu sevdiğini?
Ona, onu
Sevdiğini?
Zannetme sana boyun eğdiğimi
Hayır ben güçlüyüm be sen mi boz'can keyfimi?
Yok lan ikimiz de biliyo'z lan boku yediğini
End of song Play again?
Harmony analysis
The song opens on Gm and ends on Eb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 9 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.
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 | — |
| 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 | 9× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 9× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 9× |
| 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 | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 9× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
The key pair is Bb major and its relative G minor (2 flats). 2 different chords appear 18 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.
The move to watch is Eb → Gm, heard 7 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, Eb; read them as vi–IV in Bb or i–VI in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. It closes on Eb, letting the Bb side have the last word.
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.
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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