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)
Gökhan Türkmen - Bir Başıma - Chord
Key Bb major – G minor Chords Cm7, Ebmaj7, Dm7, Gm7, F Easy key C
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Key: Bb | Gm
Capo: 0
Gm7 Gm7 Ebmaj7 Cm7
Gm7 Ebmaj7
Geçiyor günlerimiz bunun adı yaşamaksa
Cm7 Gm7
Dolanmış ümitlerimiz birbirine
Ebmaj7
Tadı kaldı hatıra kuytularda
Cm7 Ebmaj7
Karışmış kalplerimiz birbirine
Ebmaj7 Dm7
Görmeye, duymaya yok ki halin
Cm7
Eğriyi doğruyu bıraktım harbi
Dm7
Yaşadım günleri hep avare
Cm7
Şimdi kapkara bir yalnızlık vakti
Ebmaj7 Dm7
Bir başıma, bir başıma
F Cm7
Kaldım öyle ortalarda
Ebmaj7 Dm7
Bir başıma, tek başıma
F Cm7
Ağladım yarınlarımıza
Gm7 Gm7 Ebmaj7 Cm7
Ebmaj7 Dm7
Görmeye, duymaya yok ki halin
Cm7
Eğriyi doğruyu bıraktım harbi
Dm7
Yaşadım günleri hep avare
Cm7
Şimdi kapkara bir yalnızlık vakti
Ebmaj7 Dm7
Bir başıma, bir başıma
F Cm7
Kaldım öyle ortalarda
Ebmaj7 Dm7
Bir başıma, tek başıma
F Cm7
Ağladım yarınlarımıza
End of song Play again?
Gökhan Türkmen - Bir Başıma Tabs
NotesX
Harmony analysis
Gökhan Türkmen – Bir Başıma: key and chord analysis
The song opens on Gm7 and ends on Cm7. 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 opens on Gm and Gm is heard 6 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 | 12× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 8× |
| 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 | 11× |
| V | F | Dominant — strongest pull home | F · A · C | 4× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 6× |
| 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 | 12× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 8× |
| 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 | 11× |
| 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). 5 different chords appear 41 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
- Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×3
The move to watch is Cm7 → Gm7, heard 3 times. From the Gm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Bb side it reads ii7 → 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — 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 Gm7; the ear learns where home is within a second. Cm7, Ebmaj7, Dm7, Gm7 carry the song: ii7–IVmaj7–iii7–vi7 relative to Bb, iv7–VImaj7–v7–i7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Gm7 (ii7 → vi7 in Bb, iv7 → i7 in Gm): minor plagal — deep and melancholic. Ending on Cm7, the song seals Bb 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.
Gökhan Türkmen - Bir Başıma 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: Birkan NasuhoğluMusic: Birkan NasuhoğluArrangement: Alper Anık
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