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)
Hakan Altun - Gül Belalıdır - Chord
Key Bb major – G minor Chords Gm, Cm, Fm, G# Easy key G (capo 3)
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm
Sevdim bir yar gözlerine
Cm
Gül yüzüne bağlanmışım
Gm
Vurulumuşum her haline
Cm
Saçlarının her teline
Gm Cm
Açmaz gönlünü bana yarim
Gm Cm
Bakmıyor yüzüme
Gm Cm
Cilve eder, naz eder
Fm Gm
İnanmıyor sözüme
Cm
Gül belalıdır, gülün gözü eladır
G# Cm
Gülünden ayrı yerde gönül dardadır
Fm
Yar bana dargındır, yarime ben sevdalı
Fm G# Fm Gm
Yarimden başka yar sevenin kalbi taştır
Gm
Sevdim bir yar gözlerine
Cm
Gül yüzüne bağlanmışım
End of song Play again?
Hakan Altun - Gül Belalıdır Tabs
NotesX
Harmony analysis
Hakan Altun – Gül Belalıdır: key and chord analysis
The song opens on Gm and ends on Cm. 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 8 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 | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| 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 | — |
| v | Fm | Chromatic colour chordoutside the key | F · Ab · C | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 8× |
| bVII | G# | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G# · B# · D# | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 8× |
| bII | G# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G# · B# · D# | 2× |
| 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 | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| 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 | — |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 4× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 22 times in total; 2 of them sit naturally inside the shared scale. G# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×4
The move to watch is Cm → Gm, heard 4 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- On G#, follow the chord's notes (G# · B# · D#) rather than the key's scale — it's a borrowed colour.
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
- 4 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. Gm, Cm, Fm, G# carry the song: vi–ii–v–bVII relative to Bb, i–iv–vii–bII relative to Gm. G# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. It closes on Cm, 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.
Hakan Altun - Gül Belalıdır 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.