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)
Tan Taşçı - Yok Başka Hayalim - Chord
Key Bb major – G minor Chords Dm7, Cm7, Gm7, Ebmaj7, F, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm7 Artık hiç umut yok Dm7 Tüm çabalar anlamsız Cm7 Dm7 Tekrara geldim Ebmaj7 Dm7 Anlamak zor değil bakacak ışık yok Cm7 Dm7 Kendimle derdim Gm7 Cm7 F İstemekse, yara bere bilmediğin Dm7 Gm7 Denemekse, seve seve gelmediğin Ebmaj7 Dm7 Ne demekse, aşka dair görmediğim Cm7 Dm7 Sonuna geldim Gm7 Cm7 F Yok başka hayalim, aynı ben değilim Dm7 Gm7 Sen gittin gideli, yaşamaktan başka Ebmaj7 Sana neler dileyim Dm7 Hepsi birer deneyim Cm7 Eb Zaten ben aldandım Cm7 Dm7 İnanmadım aşka
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Tan Taşçı - Yok Başka Hayalim Tabs
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Harmony analysis
Tan Taşçı – Yok Başka Hayalim: key and chord analysis
The song opens on Gm7 and ends on Dm7. 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 5 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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 7× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 10× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 3× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 1× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 5× |
| 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 | 7× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 10× |
| 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 | 3× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 1× |
| 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). 6 different chords appear 28 times in total; 6 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
- Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×4
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×2
The move to watch is Dm7 → Gm7, heard 4 times. From the Gm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi7. 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 Dm7, land on D, F, A — 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.
- Over Gm7, land on G, Bb, D — 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 Gm7 lays a solid floor for everything that follows. The chords that keep coming back are Dm7, Cm7, Gm7, Ebmaj7; read them as iii7–ii7–vi7–IVmaj7 in Bb or v7–iv7–i7–VImaj7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm7 (iii7 → vi7 in Bb, v7 → i7 in Gm): natural-minor cadence — gentle, modal arrival. 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.
Tan Taşçı - Yok Başka Hayalim 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: Tan TaşçıMusic: Tan Taşçı
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