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)
Yüzyüzeyken Konuşuruz - Ne Farkeder - Chord
Key Bb major – G minor Chords Gm, Cm7, Dm7, F Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Bugünlerde sarhoşum böyle aklım havada
Gm
Düşündüğüm net bir şey yok öyle boş tenhada dolandım
Cm7 Gm
Bütün gece, bütün bir ay, bütün sene, ne fark eder?
Gm
Üzülmüştüm, üzmüştüm biraz üşümüştüm de
Gm
Kendime bile uzaktaydım, düştüm epeyce
Cm7 Gm
Belki öptüm, belki sevdim, belki senden bahsettim, ne fark eder?
Cm7 Dm7 F Gm
Bi sabah uyandım yoktun arandım yoktun hala bulamıyorum
Cm7 Dm7 F Gm
Bugünüme vardım, çoktan uyandım, artık hiç istemiyorum
Cm7 Dm7 F Gm
Bi sabah uyandım yoktun arandım yoktun hala bulamıyorum
Cm7 Dm7 F Gm
Bugünüme vardım, çoktan uyandım, artık hiç istemiyorum
Gm
Attığım mesajları ciddiye almadın dimi?
Gm
Hayvan gibi içmişim yine tutamadım kendimi
Cm7 Gm
Yoktu hiç bir beklentim zaten olsaydı bile ne fark eder?
Gm
Geçmişime göre şimdi daha az saçım var
Gm
Yalan olmuş yarınlarım biraz da acım var
Cm7 Gm
Birazı senden kalan biraz da senden öncekilerden ne fark eder?
End of song Play again?
Yüzyüzeyken Konuşuruz - Ne Farkeder Tabs
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Harmony analysis
Yüzyüzeyken Konuşuruz – Ne Farkeder: 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)
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 and Gm is heard 16 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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 8× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 4× |
| 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 | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| 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 | 8× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 4× |
| 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 | 4× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 32 times in total; 4 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
- Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×4
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
The move to watch is Cm7 → Gm, heard 4 times. From the Gm side it is iv7 → i (minor plagal: deep and melancholic); from the Bb side it reads ii7 → 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 Gm, land on G, Bb, D — 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 Dm7, 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. Gm, Cm7, Dm7, F carry the song: vi–ii7–iii7–V relative to Bb, i–iv7–v7–VII relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Gm (ii7 → vi in Bb, iv7 → i in Gm): minor plagal — deep and melancholic. 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.
Yüzyüzeyken Konuşuruz - Ne Farkeder 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: Kaan BoşnakMusic: Kaan Boşnak
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