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)
Berkant - Samanyolu - Chord
Key Bb major – G minor Chords Bb, Eb, Dm, F, Cm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Bb Eb Bb Eb
Bb Eb Bb Bb Dm Eb Cm F Bb
Bb Dm Eb F Bb
Sen kalbimin mehtabısın güneşisin
Dm Eb F Bb
Sen ruhumun vazgeçilmez bir eşisin
Bb Eb Bb Dm
Bir şarkısın sen ömür boyu sürecek
Eb Cm F Bb
Dudaklarımdan yıllarca düşmeyecek
Bb Dm Eb F Bb
Ruhum senin kalbim senin ömrüm senin
Dm Eb F Bb
Yıllar geçse ölmeyecek bende sevgin
Bb Eb Bb Dm
Bir şarkısın sen ömür boyu sürecek
Eb Cm F Bb
Dudaklarımdan yıllarca düşmeyecek
Bb Dm Eb F Bb
Uzaklara kaçıversek seninle biz
Dm Eb F Bb
Birgün elbet göze gelir bu sevgimiz
Bb Eb Bb Dm
Bir şarkısın sen ömür boyu sürecek
Eb Cm F Bb
Dudaklarımdan yıllarca düşmeyecek
End of song Play again?
Berkant - Samanyolu Tabs
NotesX
Harmony analysis
Berkant – Samanyolu: key and chord analysis
The song opens on Bb and ends on Bb. 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 Bb major side because it both starts and finishes on Bb and Bb is heard 24 times while Gm never appears. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | 24× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 10× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 16× |
| V | F | Dominant — strongest pull home | F · A · C | 10× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 24× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | 10× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 16× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 10× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 64 times in total; 5 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
- F Bb BbV → Iauthentic cadence GmVII → III ×10
- Eb Bb BbIV → Iplagal cadence GmVI → III ×6
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×6
- Cm F Bbii → Vii → V Gmiv → VII ×4
The move to watch is F → Bb, heard 10 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → III. 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — 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.
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
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Bb, the song gives away its key from the very first bar. The backbone is Bb, Eb, Dm, F — I–IV–iii–V from the Bb side, III–VI–v–VII from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. It closes on Bb, 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.
Berkant - Samanyolu 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: Teoman AlpayMusic: Metin Bükey
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