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)
Mehmet Elmas - Beni Bağışla - Chord
Key Bb major – G minor Chords Dm, Gm, F, Ebmaj7, Cm, Em Easy key C
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Key: Bb | Gm
Capo: 0
Gm Dm Gm Dm F Ebmaj7 Cm Dm
Gm Dm
Daha derine inersen kan durmaz
Gm
Yada beni üzersen
Dm
Bi daha bu yüzüme gün doğmaz
F
Karanlıklara düşersem
Ebmaj7
Tanrım beni bağışla
Cm
Çığlıklarım duyulmaz
Dm
Fermanımı hazırla
Gm
Evhamlarım beni durdurmaz
Gm Dm Em
Gururum ayaklar altında zaten zaten
Dm
Çocuk gibi üzüldüm halime
F
İnanamadım düştüğüm hale
Yürüyecek takatım kalmadı
Ebmaj7
Daha fazlasını da kaldıramadım
Cm Dm
Yordu beni hayat denen bu matem matem
Gm Dm
Alacağın olsun bu kez yenildim
Gm Dm
Sana dair ne varsa yırtıp attım biraz gerildim
F Ebmaj7
Sırtımı yasladım duvara yine delirdim
Cm Dm
Mevsim ilk bahardı ayaz vurdu hep kış geçirdim
Gm Dm
Daha derine inersen kan durmaz
Gm
Yada beni üzersen
Dm
Bi daha bu yüzüme gün doğmaz
F
Karanlıklara düşersem
Ebmaj7
Tanrım beni bağışla
Cm
Çığlıklarım duyulmaz
Dm
Fermanımı hazırla
Gm
Evhamlarım beni durdurmaz
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Mehmet Elmas - Beni Bağışla Tabs
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Harmony analysis
Mehmet Elmas – Beni Bağışla: 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 11 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 | 5× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 15× |
| 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× |
| #iv | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 11× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 11× |
| 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 | 5× |
| v | Dm | Minor dominant — soft pull | D · F · A | 15× |
| 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× |
| #vi | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 42 times in total; 5 of them sit naturally inside the shared scale. Em step outside the scale as colour chords.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×9
The move to watch is Dm → Gm, heard 9 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → 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 Dm, land on D, F, A — 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.
- Over F, land on F, A, C — 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 opening Gm lays a solid floor for everything that follows. Dm, Gm, F, Ebmaj7 carry the song: iii–vi–V–IVmaj7 relative to Bb, v–i–VII–VImaj7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Gm; the ear comes to rest in Gm.
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.
Mehmet Elmas - Beni Bağışla 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: Mehmet ElmasMusic: Mehmet ElmasArrangement: İlkan Günüç
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