Mela Bedel - Hadi Yallah - Chord

Key Bb major – G minor Chords Dm7, Cm7, Gm7, Ebmaj7, Dm Easy key C

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Capo 0

Cm7  Cm7  Dm7  Dm7
x2

Gm7             Dm7
Gidiyorum anılarla
    Cm7                    Dm7
Görebilir misin beni bi' daha
       Gm7               Dm7
Seven alır sevdiğini yanına
    Cm7                  Dm
Sen anlasan da anlamasan da

Ebmaj7           Dm7
Gel benimle ol dedim sana
Cm7               Dm7
Ellerimden tut, bırakma
Ebmaj7         Dm7
Serseri ruhun esir bana
    Cm7                  Dm7
Sen anlasan da anlamasan da

Cm7
Allara güllere aldanma
Dm7
Boş yere kendini kandırma
Cm7
Çoktan geçtim o yollardan
Dm7
İnanmam hadi yallah

Cm7  Cm7  Dm7  Dm7
x2

Gm7
 Güneşler açar içimde
Dm7
 Sen benimle gülünce
Cm7
 Hem yaz hem de güzümde
Dm7
 Ellerin ellerimde
Cm7
 Anladım rüyadayim
Dm7
 Belki şimdi uyandım
Cm7                Dm7
Elbet bigün sen de anlarsın

Cm7
Allara güllere aldanma
Dm7
Boş yere kendini kandırma
Cm7
Çoktan geçtim o yollardan
Dm7
İnanmam hadi yallah

End of song Play again?

Mela Bedel - Hadi Yallah Tabs

NotesX

Harmony analysis

Mela Bedel – Hadi Yallah: key and chord analysis

The song opens on Cm7 and ends on Dm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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 3 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	15×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	19×
iii	Dm	Mediant — a tonic-family shade	D · F · A	1×
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	2×
V	F	Dominant — strongest pull home	F · A · C	—
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	3×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	3×
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	15×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	19×
v	Dm	Minor dominant — soft pull	D · F · A	1×
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	2×
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). 5 different chords appear 40 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

Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×3

The move to watch is Dm7 → Gm7, heard 3 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 first chord is Cm7; the ear learns where home is within a second. Dm7, Cm7, Gm7, Ebmaj7 carry the song: iii7–ii7–vi7–IVmaj7 relative to Bb, v7–iv7–i7–VImaj7 relative to 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. It closes on Dm7, 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.