Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Derya Uluğ - Yürek mi Yedin - Chord
Key Gb major – Eb minor Chords Bbm7, Abm7, Ebm7, Bmaj7, D#m7, Db Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm7 Abm7
Bbm7
Bünye alıştı bir kere
Abm7
Ayrılığa tepki vermiyor
Bmaj7
Göz kurudu bütün hislere
Bbm7
Bu sefer ıslanmam diyor
D#m7
Akıl varda yarıyor ne işe
Bmaj7 Abm7
Kalbe söz geçmiyor
Db
İkisi bir arada olmaz işte
Bbm7
Aşk müsaade etmiyor
Abm7
Sendeki cesaret nerden geliyor
Bbm7 Bmaj7 Abm7 Bbm7
Anla artık aşk geri gelmiyor
Ebm7
Yürek mi yedin
Abm7 Bbm7
Yeniden sevmeye kalktın birini
Ebm7
Hiç ders almadın mı dünden
Abm7 Bbm7
Hak ettin üzülmeyi
Ebm7 Abm7 Bbm7 Ebm7 Abm7 Bbm7
End of song Play again?
Derya Uluğ - Yürek mi Yedin Tabs
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Harmony analysis
Derya Uluğ – Yürek mi Yedin: key and chord analysis
The song opens on Bbm7 and ends on Bbm7. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because Ebm is heard 5 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | — |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 9× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 10× |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 3× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 1× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 4× |
| vi7 | D#m7 | Relative minor — the melancholy side | D# · F# · A# · C# | 1× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 4× |
| i7 | D#m7 | Tonic — home | D# · F# · A# · C# | 1× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv7 | Abm7 | Subdominant — moves away from home | Ab · Cb · Eb · Gb | 9× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 10× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 3× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 1× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 28 times in total; 6 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
- Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×4
- Bbm7 D#m7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×1
- Abm7 Db Gbii7 → Vii → V Ebmiv7 → VII ×1
The move to watch is Bbm7 → Ebm7, heard 4 times. From the Ebm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Abm7, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over Ebm7, land on Eb, Gb, 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening Bbm7 lays a solid floor for everything that follows. The chords that keep coming back are Bbm7, Abm7, Ebm7, Bmaj7; read them as iii7–ii7–vi7–IVmaj7 in Gb or v7–iv7–i7–VImaj7 in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Ebm7 (iii7 → vi7 in Gb, v7 → i7 in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm7; the ear comes to rest in Gb.
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.
Derya Uluğ - Yürek mi Yedin 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: Derya UluğMusic: Asil GökArrangement: Metehan Köseoğlu
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