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)
Burak Bulut - Sesini Duymadan Eda Sakız - Chord
Key Bb major – G minor Chords Ebmaj7, Dm, F, Gm, Cm Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7 Dm
Bir gülümsemen içimi ısındırır
Ebmaj7 Dm
Kara geceyi saçların kıskandırır
Gm F
Gözlerin dünyam içinde yaşantımı
Ebmaj7 Dm
Sürdürsem ne olur gerekir yardımın
Gm Dm
Dilimde bir şarkısın hep mırıldandım
F
Doyamadım çok kez başa sardım
Gm F
Andığım an adını dert paralanır
Ebmaj7 Dm
Varlığın alır acımı
Gm F
Sesini duymadan yüzünü görmeden
Ebmaj7 F
Elini tutmadan yaşayamam
Ebmaj7
Hadi geç olmadan bu kalpte bi yer var
Cm Dm
Başkasına adıyamam
Gm F Ebmaj7 F F Ebmaj7 Cm Dm
Ebmaj7 Dm Ebmaj7 Dm
Çok oldu senden geçeli deli balım adı tek hecelik
Gm F Ebmaj7 Dm
Gözleri sürmeli reçinem hayatımın incir reçeli
Gm F Ebmaj7 Dm
Seviyorum seni yek parem sağanak yağmurdaki tek tanem
Gm F Ebmaj7 Dm
Olduk olmaya efsane gülüm beyazlar içinde kar tanem
Gm F
Sesini duymadan yüzünü görmeden
Ebmaj7 F
Elini tutmadan yaşayamam
Ebmaj7
Hadi geç olmadan bu kalpte bi yer var
Cm Dm
Başkasına adıyamam
End of song Play again?
Burak Bulut - Sesini Duymadan Eda Sakız Tabs
NotesX
Harmony analysis
Burak Bulut – Sesini Duymadan Eda Sakız: key and chord analysis
The song opens on Ebmaj7 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 9 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 3× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 13× |
| 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 | 15× |
| V | F | Dominant — strongest pull home | F · A · C | 13× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 9× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 9× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 3× |
| v | Dm | Minor dominant — soft pull | D · F · A | 13× |
| 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 | 15× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 13× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 53 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
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×8
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×3
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
The move to watch is Dm → Gm, heard 8 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 Ebmaj7, 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.
- 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Ebmaj7; the ear learns where home is within a second. The backbone is Ebmaj7, Dm, F, Gm — IVmaj7–iii–V–vi from the Bb side, VImaj7–v–VII–i from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm, 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.
Burak Bulut - Sesini Duymadan Eda Sakız 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: Oktay Kaya - Burak BulutMusic: Oktay Kaya - Burak BulutArrangement: Denizkan Boz
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