Mela Bedel - Üzgünüm - Chord

Key Bb major – G minor Chords Gm, Cm7, Ebmaj7, Dm, F, Eb Easy key G (capo 3)

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Capo 0

Gm  Gm

Gm
Çare aramadım zannetme

Çıkmaz yolları zorladım
Ebmaj7         Dm
Gittim olmadı, kaldım olmadı
Cm7                  Gm
Bitti diyorsam laf değil

Gm
Bir anlık öfke zannetme

Çoktan harcadım sabrımı
Ebmaj7         Dm
Kaçtım olmadı, sustum olmadı
Cm7                  Gm
Bitti diyorsam laf değil

Gm       Cm7      Gm
Artık bu son veda üzgünüm
         Cm7       Gm
Nefret etme benden üzgünüm
Cm7                F
İster miydim hoşça kal demek
Eb               Gm
Elim kolum bağlı üzgünüm

Gm        Cm7        Gm
Baştan yanlış yaptık üzgünüm
        Cm7     Gm
Seninle olmazdı üzgünüm
Cm7                F
Az mı savaş verdim kendimle
Eb                 Gm
Engellere yenildim üzgünüm

End of song Play again?

Mela Bedel - Üzgünüm Tabs

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Harmony analysis

Mela Bedel – Üzgünüm: 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.

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 it both starts and finishes on Gm and Gm is heard 14 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	8×
iii	Dm	Mediant — a tonic-family shade	D · F · A	2×
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×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	14×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	14×
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×
v	Dm	Minor dominant — soft pull	D · F · A	2×
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×
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 30 times in total; 6 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 ×6
Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×2
Eb Gm BbIV → vi GmVI → iVI → i ×2

The move to watch is Cm7 → Gm, heard 6 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 Ebmaj7, land on Eb, G, Bb — 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

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, Cm7, Ebmaj7, Dm — vi–ii7–IVmaj7–iii from the Bb side, i–iv7–VImaj7–v from the Gm side. 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. It closes on Gm, letting the Gm 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.