Bengü - Kimse Bilmesin - Chord

Key Bb major – G minor Chords D7, Cm, Eb, Gm Easy key G (capo 3)

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Capo 0

Gm
Bu sefer ağlamadım hiç
     Cm
Ve beni anlamadın hiç
                      D7
Kendi kendineydi çırpınışlarım

Gm
Bu sefer zorlamadım hiç
    D7
Olmadı kollayanım hiç
Eb                    D7
Kendi kendineydi hıçkırıklarım

   Eb              Cm
Yorgun düşüyor bedenim ufak ufak
Eb        Cm              D7
Sen misin bunca şeyin sebebi
  Eb             Cm
Ruhum üşüyor, kalbimin gücü yok
D7     Eb     Cm             D7
Gel de paylaş son kez bu kederi

   Gm                     Eb
Üşüyorsa ellerin dokunsun gül yüzüne
    Cm                     D7
Ama kalbine hiç kimse girmesin
                             Cm
Düşüyorsa gözlerimden bir damla süzülen
      D7          Cm          D7
Senin olsun, nolur kimse bilmesin

End of song Play again?

Bengü - Kimse Bilmesin Tabs

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Harmony analysis

Bengü – Kimse Bilmesin: key and chord analysis

The song opens on Gm and ends on D7. 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)
#7 = F# (harmonic-minor leading tone from the V chord)

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, Gm is heard 3 times while Bb never appears and the major V chord points straight at Gm. 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.

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	8×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	9×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	6×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	3×
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	3×
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	8×
v	Dm	Minor dominant — soft pull	D · F · A	—
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	9×
VI	Eb	Submediant — warm colour	Eb · G · Bb	6×
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). 4 different chords appear 26 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.

Chord movement

Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×7
D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×2

The move to watch is Cm → D7, heard 7 times. From the Gm side it is iv → V7 (iv → V: the minor side's tension builder); from the Bb side it reads ii → V7/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 D7, 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

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

Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are D7, Cm, Eb, Gm; read them as V7/vi–ii–IV–vi in Bb or V7–iv–VI–i in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm → D7 (ii → V7/vi in Bb, iv → V7 in Gm): iv → V — the minor side's tension builder. The final chord is D7; 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.