Gripin - Var Bir İhtimal - Chord

Key C major – A minor Chords G, Am, Em, Dm, F, Bbmaj7, E7 Difficulty already in its easiest key

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Capo 0

Dm  G  Am  Em

Am                    G
Günler geçti, kaldı gece
                Am
Unutulur sevişince
             G
Bahisler açılsın
        Dm        Am
Son bir şans üzerine

      G       Em       Dm          Am
Süslü bir sabahın sırtına düşmüş hayal
   G          Em           F
Kaldırmasınlar var bir ihtimal

Am
Yok gerek yok
     G        Em
Kime sorsan affeder beni
Dm       Bbmaj7
Sar geri sar 
      E7          Em
Geçti filmin en güzel yeri

Am
Çok zaman yok
  G                Em
İster küfret ister sev beni
Dm       Bbmaj7
Sar geri sar
     E7         Em
Yanımdayken özledim seni

Dm  G  Am  Em

Am                   G
Uzak güneş, yorgun gece
                   Am
Sıfırlanan şüphelerce
             G
Bahisler açılsın
        Dm        Am
Son bir şans üzerine

      G       Em       Dm          Am
Süslü bir sabahın sırtına düşmüş hayal
   G          Em           F
Kaldırmasınlar var bir ihtimal

Am
Yok gerek yok
     G        Em
Kime sorsan affeder beni
Dm       Bbmaj7
Sar geri sar 
      E7          Em
Geçti filmin en güzel yeri

Am
Çok zaman yok
  G                Em
İster küfret ister sev beni
Dm       Bbmaj7
Sar geri sar
     E7         Em
Yanımdayken özledim seni

F  G  Em  F  Am

End of song Play again?

Gripin - Var Bir İhtimal Tabs

NotesX

Harmony analysis

Gripin – Var Bir İhtimal: key and chord analysis

The song opens on Dm and ends on Am. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

7 = B (leading tone, pulls home)
4 = F (the note that leans on the 3rd)

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = F (the minor's melancholy)
b7 = G (natural-minor colour)
#7 = G# (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 A minor side because it comes to rest on Am, Am is heard 15 times while C never appears and the major V chord points straight at Am. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	10×
iii	Em	Mediant — a tonic-family shade	E · G · B	15×
V7/vi	E7	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B · D	4×
IV	F	Subdominant — moves away from home	F · A · C	4×
V	G	Dominant — strongest pull home	G · B · D	15×
vi	Am	Relative minor — the melancholy side	A · C · E	15×
bVIImaj7	Bbmaj7	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Bb · D · F · A	4×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	15×
bIImaj7	Bbmaj7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Bb · D · F · A	4×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	10×
v	Em	Minor dominant — soft pull	E · G · B	15×
V7	E7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B · D	4×
VI	F	Submediant — warm colour	F · A · C	4×
VII	G	Subtonic — steps back to the tonic	G · B · D	15×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 7 different chords appear 67 times in total; 5 of them sit naturally inside the shared scale. The major V of Am brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from C, the same E7 is V7/vi, a secondary dominant heading for Am. Bbmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
Dm Am Cii → vi Amiv → iminor plagal ×4
Em Am Ciii → vi Amv → inatural-minor cadence ×4
F Am CIV → vi AmVI → iVI → i ×3
Dm G Cii → Vii → V Amiv → VII ×2
F G CIV → VIV → V AmVI → VIIVI → VII ×1

The move to watch is G → Am, heard 4 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
When E7 comes, swap the scale's G for G#: that single note is the harmonic-minor sound of the chord.
On Bbmaj7, follow the chord's notes (Bb · D · F · A) 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 C major shapes

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

The song is already written in its easiest key for guitar.

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is G, Am, Em, Dm — V–vi–iii–ii from the C side, VII–i–v–iv from the Am side. E7 is the interesting twist: in C it is a chromatic chord (V7/vi), while in Am it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. Ending on Am, the song seals Am 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.