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)
Sibel Can - Pes - Chord
Key Bb major – G minor Chords Gm, Cm, Dm, Eb, D7, Adim, Am, Ebmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm Cm Adim D7 Gm
Gm
Biliyorum yorgun düştüm aşktan
Cm Dm
Usandım inattan savaştan
Cm
Bir yanım çiçek bahar
Gm Am
Bir yanım açar solar
D7 Gm
İçimde gidenden kalanlar
Gm
İnanıp kışın doğan güneşe
Cm Dm
Kandırıp kendimi kor ateşte
Ebmaj7 Cm
Dört yanım yangınlarla sarılmış tuzaklara
Adim D7 Gm
Pes ettim bu zalim oyunda
Gm Eb
Sevdalandım aşkın vurdum dibine
Gm Eb
Hırpalandım yoruldum yattım dizine
Dm Cm
Ben kovuldum hayattan vardım evime
Dm Cm Gm
Bir daha gelecek olsam bir daha pes
Gm Eb
Sevdalandım aşkın vurdum dibine
Gm Eb
Hırpalandım yoruldum yattım dizine
Dm Cm
Ben kovuldum hayattan vardım evime
Dm Cm
Bir daha gelecek olsam
D7 Gm
Bir daha kapıyı bana açma
Gm Eb
Sevdalandım aşkın vurdum dibine
Gm Eb
Hırpalandım yoruldum yattım dizine
Dm Cm
Ben kovuldum hayattan vardım evime
Dm Cm Gm
Bir daha gelecek olsam bir daha pes
Gm Eb
Sevdalandım aşkın vurdum dibine
Gm Eb
Hırpalandım yoruldum yattım dizine
Dm Cm
Ben kovuldum hayattan vardım evime
Dm Cm
Bir daha gelecek olsam
D7 Gm
Bir daha kapıyı bana açma
End of song Play again?
Sibel Can - Pes Tabs
NotesX
Harmony analysis
Sibel Can – Pes: 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 19 times while Bb never appears 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 14× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 10× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 5× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 8× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 1× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 19× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | 2× |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 19× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | 2× |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 14× |
| v | Dm | Minor dominant — soft pull | D · F · A | 10× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 5× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 8× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 1× |
| 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). 8 different chords appear 60 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. Am step outside the scale as colour chords.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×5
- Eb Gm BbIV → vi GmVI → iVI → i ×4
- Cm Gm Bbii → vi Gmiv → iminor plagal ×3
- Adim D7 Bbvii° → V7/vi Gmii° → V7ii° → V ×2
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×2
The move to watch is D7 → Gm, heard 5 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to 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 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 Dm, 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. Gm, Cm, Dm, Eb carry the song: vi–ii–iii–IV relative to Bb, i–iv–v–VI relative to 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 D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals Gm 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.
Sibel Can - Pes 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: Cem AdrianMusic: Cem Adrian
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