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)
Bulutsuzluk Özlemi - Sözlerimi Geri Alamam - Chord
Key Bb major – G minor Chords F, Bb, Eb, Gm, Dm, Cm, C Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
C F Bb F
Bb F Gm Dm Eb Bb F
Bb F
Sözlerimi geri alamam
Gm Dm
Yazdığımı yeniden yazamam
Eb Bb
Çaldığımı baştan çalamam
F
Bir daha geri dönemem
Bb F
Akıyorsa göz yaşım kurumasın
Gm Dm
Coşup seven gönlümse durmasın
Eb Bb
Dost bildik anılarım çağırmasın
F
Bir daha geri dönemem
Bb F
Hiç bir kere hayat bayram olmadı ya da
Gm Dm
Her nefes alışımız bayramdı
Eb Bb
Bir umuttu yaşatan insanı
F
Aldım elime sazımı
Bb Cm F
Yine aşınca çayın suyu boyunu
Bb Eb Gm F Eb
Belki yeniden karşıııma çıkacaksın
Cm F Bb
Gözgöze durup bakınca göreceğiz
Eb Gm F Eb Bb F
Neyiz ve nerelerdeyiz bilemiyoruz, şimdi
End of song Play again?
Bulutsuzluk Özlemi - Sözlerimi Geri Alamam Tabs
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Harmony analysis
Bulutsuzluk Özlemi – Sözlerimi Geri Alamam: key and chord analysis
The song opens on C and ends on F. 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 Bb major side because Bb is heard 13 times against 6 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | 13× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 2× |
| V/V | C | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 1× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 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 | 8× |
| V | F | Dominant — strongest pull home | F · A · C | 15× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 6× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 13× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 2× |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 1× |
| v | Dm | Minor dominant — soft pull | D · F · A | 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 | 8× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 15× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 49 times in total; 6 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F Bb BbV → Iauthentic cadence GmVII → III ×8
- Eb Bb BbIV → Iplagal cadence GmVI → III ×5
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
- Cm F Bbii → Vii → V Gmiv → VII ×2
- Eb Gm BbIV → vi GmVI → iVI → i ×2
The move to watch is F → Bb, heard 8 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → III. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Eb, 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 C, the song gives away its key from the very first bar. The backbone is F, Bb, Eb, Gm — V–I–IV–vi from the Bb side, VII–III–VI–i from the Gm side. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. Ending on F, 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.
Bulutsuzluk Özlemi - Sözlerimi Geri Alamam 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: Nejat Yavaşoğulları
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