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)
Yalın - Mümkündür - Chord
Key Bb major – G minor Chords Gm7, Ebmaj7, Cm7, Dm7, A7, D7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm7 Ebmaj7 Bir dünya düşün, herkes gülebiliyor Dm7 Cm7 Gm7 Kimse özlemiyor, çünkü kimse ayrı değil Gm7 Ebmaj7 Bir de bizi düşün, yollar uzamıyor Dm7 Cm7 Gm7 Kimse gitmiyor, çünkü kimse kırgın değil Cm7 Dm7 Ebmaj7 Çünkü kimse sen değil Gm7 Ebmaj7 Mümkündür ağlaman da sarılmam da Dm7 Gm7 Mümkündür kaçışın da kovalamam da Cm7 A7 D7 Aşk hala mümkündür Gm7 Ebmaj7 Sormasınlar adımı, açmadım ki kapımı A7 Cm7 D7 Yoksan sen, yokmuşum ben Gm7 Ebmaj7 Dm7 Gm7 Cm7 A7 D7 Gm7 Ebmaj7 Sen hep bizi düşün, eller üşümüyor Dm7 Yalnız uyunmuyor Cm7 Gm7 Çünkü kimse dargın değil Cm7 Dm7 Ebmaj7 Çünkü kimse sen değil Gm7 Ebmaj7 Mümkündür ağlaman da sarılmam da Dm7 Gm7 Mümkündür kaçışın da kovalamam da Cm7 A7 D7 Aşk hala mümkündür Gm7 Ebmaj7 Sormasınlar adımı, açmadım ki kapımı A7 Cm7 D7 Yoksan sen, yokmuşum ben
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Harmony analysis
Yalın – Mümkündür: key and chord analysis
The song opens on Gm7 and ends on D7. 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)
- #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 14 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 10× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 8× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 5× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 10× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 14× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| V7/iii | A7 | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E · G | 5× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 14× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| V7/v | A7 | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E · G | 5× |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 10× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 8× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 5× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 10× |
| 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). 6 different chords appear 52 times in total; 4 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. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D7 Gm7 BbV7/vi → vi7secondary resolution GmV7 → i7harmonic-minor cadence ×4
- Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×3
- Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×3
- A7 D7 BbV7/iii → V7/visecondary resolution GmV7/v → V7 ×3
- Ebmaj7 Gm7 BbIVmaj7 → vi7 GmVImaj7 → i7VI → i ×2
- Cm7 D7 Bbii7 → V7/vi Gmiv7 → V7iv → V ×2
The move to watch is D7 → Gm7, heard 4 times. From the Gm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi7 (secondary resolution: D7 resolves a fourth up to Gm7). 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 Gm7, land on G, Bb, D — 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.
- Over Cm7, land on C, Eb, G — 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Gm7; the ear learns where home is within a second. The chords that keep coming back are Gm7, Ebmaj7, Cm7, Dm7; read them as vi7–IVmaj7–ii7–iii7 in Bb or i7–VImaj7–iv7–v7 in Gm. A7 is the interesting twist: in Bb it is a chromatic chord (V7/iii), while in Gm it becomes the dominant (V7/v) that makes the minor side sound so determined. Keep an ear on D7 → Gm7 (V7/vi → vi7 in Bb, V7 → i7 in Gm): harmonic-minor cadence — the major V resolves dramatically. 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.
Yalın - Mümkündür 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: YalınMusic: YalınArrangement: Alp Ersönmez
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