Mavi Gri - Bedel - Chord

Key Bb major – G minor Chords Dm7, Ebmaj7, Cm7 Easy key C

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Capo 0

Ebmaj7  Dm7  Cm7  Dm7

Ebmaj7
Başını koyucan yastığın olucam
Dm7
Adımı sayıklarken
Cm7
Düşlere dalıcan ben seni tutucam
Dm7
Yanı başımdayken

Ebmaj7
Gözlerin olucam her yere dolucam
Dm7
Beni sarabilirsen
Cm7
Karanlığına güneşin gibi doğucam
Dm7
Bir de gülümsersen

Ebmaj7  Dm7

Ebmaj7                   Dm7
Taştan bir kalbin var buzdan da bi’ beden
Cm7                    Dm7
İstemem ödedim vallahi billahi bedel
Ebmaj7                 Dm7
Caydım illaki çok severdim özümden
Cm7                      Dm7
Dönmem öldür Allah artık ben sözümden

Ebmaj7
Ben acımla mahvolurken
Dm7
Güldü geçti kendisi
Cm7
Üzüldüğümle kaldım öyle
Dm7
Ve ben bunu hak etmedim

Ebmaj7
Neden bu dünya
             Dm7
Hep bi derde mahkum acılar ülkesi
  Cm7
Masal gibiydi sandım önce
Dm7
İyi tanıyamadan herkesi

Ebmaj7                   Dm7
Taştan bir kalbin var buzdan da bi’ beden
Cm7                    Dm7
İstemem ödedim vallahi billahi bedel
Ebmaj7                 Dm7
Caydım illaki çok severdim özümden
Cm7                      Dm7
Dönmem öldür Allah artık ben sözümden

Dünya niye böyle kederli
Mahkum acılar ülkesi
Herkesi iyi sandım önce
Bunu böyle hayal etmedim

End of song Play again?

Mavi Gri - Bedel Tabs

NotesX

Harmony analysis

Mavi Gri – Bedel: key and chord analysis

The song opens on Ebmaj7 and ends on Dm7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.

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	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	9×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	19×
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	10×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
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	—
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	9×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	19×
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	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). 3 different chords appear 38 times in total; 3 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Dm7, land on D, F, A — 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.

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 Ebmaj7, the song gives away its key from the very first bar. Dm7, Ebmaj7, Cm7 carry the song: iii7–IVmaj7–ii7 relative to Bb, v7–VImaj7–iv7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Dm7, the song seals Bb as home.

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.