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)
M. Onur Bayraktar - Sol Yanımda x Damla Arıcan - Chord
Key Bb major – G minor Chords Dm, Gm, Cm, F, Eb, C Easy key C
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Key: Bb | Gm
Capo: 0
Gm Eb
Belki görmedin olan duygularımı
Belki gösteremedim sana
Dm
Bil ki bitmedi ümitlerim
Cm Dm
Bil ki sen varsın sol yanımda
Gm
Sanki hiç sevmemiş gibisin
Eb
Sanki inanmıyorsun bana
Dm
Bil ki bitmedi hayallerim
Cm Dm
Hep yaşıyacaksın sol yanımda
Dm
Bil ki bitmedi hayallerim
Cm Dm
Hep yaşayacaksın sol yanımda
Dm F Dm
Beni sen yaraladın, kaderimle oynadın
C F Gm
Kafam almıyor senden başkaaa
Cm
Delin oldum sanırım, geri dön yalvarırım
Gm Dm
Yine gel elimi tut senin sevgin başka
Dm F Dm
Beni sen yaraladın, kaderimle oynadın
C F Gm
Kafam almıyor senden başkaaa
Cm
Delin oldum sanırım, geri dön yalvarırım
Gm Dm
Yine gel elimi tut senin sevgin başkaaa
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M. Onur Bayraktar - Sol Yanımda x Damla Arıcan Tabs
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Harmony analysis
M. Onur Bayraktar – Sol Yanımda x Damla Arıcan: key and chord analysis
The song opens on Gm and ends on Dm. 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)
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 and Gm is heard 6 times while Bb never appears. 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 5× |
| V/V | C | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 12× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 2× |
| V | F | Dominant — strongest pull home | F · A · C | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 6× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 5× |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | 12× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 2× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 4× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 31 times in total; 5 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is F → Gm, heard 2 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- 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.
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 opening Gm lays a solid floor for everything that follows. Dm, Gm, Cm, F carry the song: iii–vi–ii–V relative to Bb, v–i–iv–VII relative to Gm. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. It closes on Dm, 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.
M. Onur Bayraktar - Sol Yanımda x Damla Arıcan 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: Yusuf TomakinMusic: Yusuf TomakinArrangement: Yusuf Tomakin
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