Ahmet Ali Arslan - Oyun (Gülinler) - Chord

Key Bb major – G minor Chords Eb, Cm, Dm, Gm, F, Bb, Ab, G … Easy key C

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Capo 0

Gm  Dm  Cm  F  Eb  Bb  Eb  Dm  Cm  Bb  Ab  G

Gm  F                 Eb
Sen gök gürültüsünden korkup da
Dm         Cm
İnsan olmaktan korkmayan
Gm         F             Eb
Engerekler padişahı bile olmamış
Dm           Cm
Sen misin sevgiden muaf, tuhaf

Eb  Dm  Cm  F  Eb  Bb  Eb  Dm  Cm  Bb  Ab  G

Gm              A7
Çocukluğumdan beri
D7             Gm
Aramışım hep seni
Eb               Cm
Oyun oynayacak biri
    D7               Gm
Ah, yenil bana yen beni

Gm  F
Sen ıslığıma sığsan
   Eb     Dm        Cm
Şu dağlar halaya kalkar, halaya
Gm  F               Eb
Kaç dişini görürsem gülünce
Dm           Cm
O kadar yıl uzar gençliğim, sevdiğim

Eb  Dm  Cm  F  Eb  Bb  Eb  Dm  Cm  Bb  Ab  G

End of song Play again?

Ahmet Ali Arslan - Oyun (Gülinler) Tabs

NotesX

Harmony analysis

Ahmet Ali Arslan – Oyun (Gülinler): key and chord analysis

The song opens on Gm and ends on G. 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)
#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 8 times against 6 for Bb 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	6×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	11×
iii	Dm	Mediant — a tonic-family shade	D · F · A	10×
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	2×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	13×
V	F	Dominant — strongest pull home	F · A · C	7×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	8×
V/ii	G	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D	3×
bVII	Ab	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Ab · C · Eb	3×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
V7/iii	A7	Secondary dominant V/iii — leads to Dmsecondary dominant	A · C# · E · G	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	8×
V/iv	G	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D	3×
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	3×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
V7/v	A7	Secondary dominant V/v — leads to Dmsecondary dominant	A · C# · E · G	1×
III	Bb	Relative major — the bright side	Bb · D · F	6×
iv	Cm	Subdominant — moves away from home	C · Eb · G	11×
v	Dm	Minor dominant — soft pull	D · F · A	10×
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	2×
VI	Eb	Submediant — warm colour	Eb · G · Bb	13×
VII	F	Subtonic — steps back to the tonic	F · A · C	7×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 10 different chords appear 64 times in total; 6 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. G, A7 act as secondary dominants, briefly pointing at another chord of the key. Ab is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Eb Bb BbIV → Iplagal cadence GmVI → III ×3
Cm F Bbii → Vii → V Gmiv → VII ×3
D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×2
Cm Gm Bbii → vi Gmiv → iminor plagal ×2
A7 D7 BbV7/iii → V7/visecondary resolution GmV7/v → V7 ×1
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×1

The move to watch is Eb → Bb, heard 3 times. From the Gm side it is VI → III; from the Bb side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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.
On Ab, follow the chord's notes (Ab · C · Eb) rather than the key's scale — it's a borrowed colour.

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 Eb, Cm, Dm, Gm; read them as IV–ii–iii–vi in Bb or VI–iv–v–i in Gm. G is the interesting twist: in Bb it is a chromatic chord (V/ii), while in Gm it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on Eb → Bb (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. It closes on G, 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.

Ahmet Ali Arslan - Oyun (Gülinler) 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: Ahmet Ali Arslan

Music: Ahmet Ali Arslan

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