Güneş - Suçlarımdan Biri - Chord

Key Bb major – G minor Chords Gm, F, Ebmaj7, Dm Easy key C

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Capo 0

Gm
Böylesini tahmin etmemiştim
Kafamda iki kişi  hep çeliştim
Yardımına gerek yok  oldu işte
Sanırım duygusuz bi canavara dönüştüm

Gm
Kovaladığım kadar kaçmamışsındır
Sıkıştığım köşede kalmamıştım hiç
Belki dilindeki zehir yanıltmıştır
Ama tamiri var ki kalktım işte

Gm
Kanadından bi tüy koptu düştü
Kaç hatıra sende kaldı yarısı pişmanlık
Kadere inanmayı başlarda seçmemiştik ki
Anladım gerçeğe vedayı etmişsin

Gm
Yine de kal benimle kaçma

Korkularım var evet duymadın daha
        F
İzledim güneşi, doğana kadar
         
Batırdım onu evet gözümü ayırmadan

Ebmaj7
Görünce akan terler avuçlarımdan

Kayarken izledim şehri parmak uçlarımda
     Dm
Bi serseri gibisin hala pahalı papuçlarımla
           F                                Gm
Yapmak istiyorum bu gece seni suçlarımdan biri

Gm
Verdin talimatlar sevgin yoktu asla
Bu yüzden kalbim kırık böyle düşünceler hasta
Ağzından çıktı her bi mermi boştu tüm silahlar
Işığım kendimden de onlar hala simsiyahlar

Gm
Fark ettim hiç benden değil tüm suçu hep bende aradın
Kitledim kapıları geceleri uyuyamadım 
Hapsettim kalbime tüm kini yine sen de aradım
Benliğimi kaybettiğimde bu yüzden omzunda ağladım

Gm
Yürü dedi kalk ayağa hızlan
          
Daha bitmemişti yol vazgeçtin baştan
              F
Oğlum değil senin gibi bu ilaçlar

Acımı etmiyorsan yok uyuştur az daha

Ebmaj7
Görünce akan terler avuçlarımdan

Kayarken izledim şehri parmak uçlarımda
     Dm
Bi serseri gibisin hala pahalı papuçlarımla
           F                                Gm
Yapmak istiyorum bu gece seni suçlarımdan biri

End of song Play again?

Güneş - Suçlarımdan Biri Tabs

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Harmony analysis

Güneş – Suçlarımdan Biri: 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.

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)

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 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.

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	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	2×
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	2×
V	F	Dominant — strongest pull home	F · A · C	4×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	9×
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	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	2×
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	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	4×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 17 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.

Chord movement

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2

The move to watch is F → Gm, heard 2 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 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.
Over Ebmaj7, land on Eb, G, Bb — 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 chords that keep coming back are Gm, F, Ebmaj7, Dm; read them as vi–V–IVmaj7–iii in Bb or i–VII–VImaj7–v in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. It closes on Gm, letting the Gm 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.