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)
Aysel Yakupoğlu - İhanet - Chord
Key Bb major – G minor Chords Ebmaj7, Dm7, F, Gm7 Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm7 Dm7 Ebmaj7 Dm7 Gm7 F Yok bir bahanesi yaptığın ihanetin Dm7 Ebmaj7 Zor dönmem geri kopsada kıyametim Gm7 F Kim söyle faili kalpteki cinayetin Dm7 Ebmaj7 Sen değil misin katili hayallerin Ebmaj7 F Ben değilim aşk dediğin kal nerde güldüysen Ebmaj7 F Başka eli tutmuş elin yan kimde söndüysen Ebmaj7 F Sar geleni şimdi hadi bak seveni gömdün sen Ebmaj7 Dm7 Bir seni gördüm de bir bana kördün be Ebmaj7 F Ben değilim aşk dediğin kal nerde güldüysen Ebmaj7 F Başka eli tutmuş elin yan kimde söndüysen Ebmaj7 F Sar geleni şimdi hadi bak seveni gömdün sen Ebmaj7 Dm7 Bir seni gördüm de bir bana kördün be Gm7 Dm7 Ebmaj7 Dm7
End of song Play again?
Aysel Yakupoğlu - İhanet Tabs
NotesX
Harmony analysis
Aysel Yakupoğlu – İhanet: key and chord analysis
The song opens on Gm7 and ends on Dm7. 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 4 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 | — |
| 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 | 12× |
| V | F | Dominant — strongest pull home | F · A · C | 8× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 4× |
| 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 | — |
| 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 | 12× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 8× |
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
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×6
- Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×2
- Ebmaj7 Gm7 BbIVmaj7 → vi7 GmVImaj7 → i7VI → i ×1
The move to watch is Ebmaj7 → F, heard 6 times. From the Gm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 Dm7, 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 opening Gm7 lays a solid floor for everything that follows. The backbone is Ebmaj7, Dm7, F, Gm7 — IVmaj7–iii7–V–vi7 from the Bb side, VImaj7–v7–VII–i7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → F (IVmaj7 → V in Bb, VImaj7 → VII in Gm): VI → VII — the rising step that heads for the tonic. 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.
Aysel Yakupoğlu - İhanet 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Ömer ÇakırMusic: Ömer ÇakırArrangement: Aydın Bayram
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.