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)
Sertab Erener - Bi Polar - Chord
Key Bb major – G minor Chords Gm, Cm, D7, Adim, F, Bb, Eb Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Akmaya bi yer bulamaz Adim Gözyaşım canım benim Cm D7 Gm O uykusuz ben keyifsizim Gm Adim Çocukken sanırdım ölümsüz yenilmezim ama Cm D7 Gm Artık kendimden ümitsizim Evet Cm Alırsın kırılır koyarsın dökülür Gm Yazınca silinir durunca bozulur Adim D7 Çaresizim of depresifim Cm Çözünce karışır açarsın dolanır Gm Dolunca boşalır kafana takılır Adim Cm D7 Bi polarım bi geçimsizim Adim Cm D7 Bi polarım bi geçimsizim Gm Cm Neden bu kadar zor yaşamak hiç anlamadım F Bb Hep aklımda aynı soru doğmasamıydım Eb Cm Şimdi baştan her şeyi geri sarmalıyım D7 Gm Çok üstüme gelme hayat ben de insanım Gm Cm Bi rahat ver bana bi nefes almalıyım F Bb Belki de ben seni çok ciddiye almışım Eb Cm Şimdi baştan her şeyi geri sarmalıyım D7 Gm Çok üstüme gelme hayat ben de insanım
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Sertab Erener - Bi Polar Tabs
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Harmony analysis
Sertab Erener – Bi Polar: 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.
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 both starts and finishes on Gm, Gm is heard 10 times against 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 10× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 7× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 2× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | 5× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | 5× |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 10× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 7× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 2× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 38 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.
Chord movement
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×6
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×5
- F Bb BbV → Iauthentic cadence GmVII → III ×2
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
- Cm F Bbii → Vii → V Gmiv → VII ×2
- Adim D7 Bbvii° → V7/vi Gmii° → V7ii° → V ×1
The move to watch is Cm → D7, heard 6 times. From the Gm side it is iv → V7 (iv → V: the minor side's tension builder); from the Bb side it reads ii → V7/vi. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over D7, 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.
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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Cm, D7, Adim; read them as vi–ii–V7/vi–vii° in Bb or i–iv–V7–ii° in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Cm → D7 (ii → V7/vi in Bb, iv → V7 in Gm): iv → V — the minor side's tension builder. The final chord is Gm; the ear comes to rest in Gm.
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.
Sertab Erener - Bi Polar 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: Sertab Erener & Emrah DemiralpMusic: Emrah Demiralp
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