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)
HiraiZerdüş - Sem - Chord
Key Bb major – G minor Chords Dm, Gm, F, Bb, C Easy key C
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Key: Bb | Gm
Capo: 0
Dm Gm Dm Gm Dm Gm Gm F Bb C Dm
Dm
Gülüm ateş dağ kadar
F Gm Dm
Su koşan karıncadır
Hangi dala tutunsak
F Gm Dm
En çürük karardadır
Dm Gm
Yazımız karadır madem
Dm Gm
Gün yüzü yazmamış kalem
Dm Gm
Sesimizi duymamış Sem
F Bb C Dm
Gam telinden sök hançeri vur göğsüme
Dm
Gülüm diken aşikar
F Gm Dm
Ya gül cana batar mı?
Bunca derdi veren de
F Gm Dm
Bizi kuldan saymaz mı?
Dm Gm
Yazımız karadır madem
Dm Gm
Gün yüzü yazmamış kalem
Dm Gm
Sesimizi duymamış Sem
F Bb C Dm
Gam telinden sök hançeri vur göğsüme
Dm Gm
Yazımız karadır madem
Dm Gm
Gün yüzü yazmamış kalem
Dm Gm
Sesimizi duymamış Sem
F Bb C Dm
Çek hançeri zehir bula vur göğsüme
End of song Play again?
HiraiZerdüş - Sem Tabs
NotesX
Harmony analysis
HiraiZerdüş – Sem: key and chord analysis
The song opens on Dm 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 Gm is heard 17 times against 4 for Bb. 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 | 4× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| V/V | C | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 22× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | 8× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 17× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 17× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 4× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | 22× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 8× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 55 times in total; 4 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×12
- F Bb BbV → Iauthentic cadence GmVII → III ×4
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
The move to watch is Dm → Gm, heard 12 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. 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 F, land on F, A, C — 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, Gm, F, Bb; read them as iii–vi–V–I in Bb or v–i–VII–III in Gm. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Bb.
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.
HiraiZerdüş - Sem 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: HiraiZerdüş
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