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, F, Dm, Eb Easy key C
Gm F Dm Eb
Gm F Dm
Dön diyorsan dönebilirim, yanmaz canımda
Eb
Öl diyorsan ölebilirim olur mu
Gm F Dm
Yak diyorsan yakabilirim, dudaklarınla
Eb
Öl diyorsan ölebilirim olur mu
Gm F Dm
Yaktım kendimi sardım iyice zor durunca ben ölebilirim
Eb
Görebilirsen bir de beni böyle gör
Gm F
Bıktım artık gözünün önünden geçmekten
Dm
Bu kalabalıkta seni seçmekten
Eb
Yaktı korkularım iç çekmekten, ölebilirim
Gm F Dm
Dön diyorsan dönebilirim, yanmaz canımda
Eb
Öl diyorsan ölebilirim olur mu
Gm F Dm
Yak diyorsan yakabilirim, dudaklarınla
Eb
Öl diyorsan ölebilirim olur mu
Gm
Sensiz bi önemi yok gel ki
F
Bir hayatım olsunnn
Dm
Öldürme beni nolur
Sen benim için doğdun
Eb
Hemen mi benden soğudun
Güldürme beni nolursun
Gm
İstersen daha yakın durabilirim
Yarın da yanında kalabilirim
F
Ben gelip yaralarını sarabilirim
Tüm şımarık oyunlara kanabilirim
Dm
Ama var bi şartım
Kalbini verme kimseye, o Bende kalsın
Eb
biz film gibiydik gel var devamı
Yeniden başlayalım söyle nerde kaldık
Gm
Su yolundayım su testisi gibi
Eritti asitli hevesleri beni
F
Reddettim altın kafesleri şimdi
Belirdi baktığımda geçmişin izi
Dm
Ama pişman değilim sevdiğim için
Birşeyler hissetmek baya iyiydi
Eb
Eskisi kadar da kafam iyi değil
Gözlerinin hala fanatiğiyim
Gm
Endamınız hoş kötü namınız
F
İltifat arıyor ben kurbanı
Bu da İspatı, lüzumsuz sancı
Beni kurtarın
Dm
Kurtlar sofrası pahalı
Bu İntikam beni sarmadı
Eb
Ölüm uçağında yuvarlanırken
Ruhumu çağır yakıp mumları
Gm F Dm
Dön diyorsan dönebilirim, yanmaz canımda
Eb
Öl diyorsan ölebilirim olur mu
Gm F Dm
Yak diyorsan yakabilirim, dudaklarınla
Eb
Öl diyorsan ölebilirim olur mu
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 13 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 | 13× |
| 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 | 13× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 13× |
| 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 | 13× |
| 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× |
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 52 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.
The move to watch is Eb → Gm, heard 12 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.
Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, F, Dm, Eb — vi–V–iii–IV from the Bb side, i–VII–v–VI from the Gm side. 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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