Edis - Benim Ol - Chord

Key Bb major – G minor Chords Gm, Cm, Bb, F, G#m, Ab, Dm, Eb … Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm    G#m

Gm                 G#m
Suç payıma düşense

Giderim yine sen düşünme
Cm                                          
Ki senin hep uğraştığın son
     Bb                Ab
Acıtmaz canımı bir gidişle

Gm
Uzun zamandı kalbim aşkları sönsün diye geleni taşladı
    Bb                          Ab
Pişman olup hep seni beklediğim zaman başladı

                   Gm
Hadi yine gel benim ol
      F      Dm
Benim olmazsan
          Gm
Kime giderim
     Cm     F
Beni duymazsan
         Bb       Eb
Kime veririm yüreğimi
Cm                   D
Hadi yine gel benim ol, gel benim ol

                    Gm
Hadi yine gel benim ol
       F     Dm
Benim olmazsan
          Gm
Kime giderim
    Cm     F
Beni duymazsan
         Bb       Eb
Kime veririm yüreğimi
Cm               D
Yarım sözüm daha dur

End of song Play again?

Edis - Benim Ol Tabs

NotesX

Harmony analysis

Edis – Benim Ol: key and chord analysis

The song opens on Gm and ends on D. 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)
#7 = F# (harmonic-minor leading tone from the V chord)

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, Gm is heard 7 times against 4 for Bb and the major V chord points straight at Gm. 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	4×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	5×
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	2×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
V	F	Dominant — strongest pull home	F · A · C	4×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	7×
bvii	G#m	Chromatic colour chordoutside the key	G# · B · D#	2×
bVII	Ab	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Ab · C · Eb	2×
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	7×
bii	G#m	Chromatic colour chordoutside the key	G# · B · D#	2×
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	4×
iv	Cm	Subdominant — moves away from home	C · Eb · G	5×
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	2×
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
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). 9 different chords appear 30 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm. Ab is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F Bb BbV → Iauthentic cadence GmVII → III ×2
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2
Cm F Bbii → Vii → V Gmiv → VII ×2
Cm D Bbii → V/vi Gmiv → Viv → V ×2
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×1

The move to watch is F → Bb, heard 2 times. From the Gm side it is VII → III; from the Bb side it reads V → I (authentic cadence: the strongest arrival 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 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
On Ab, follow the chord's notes (Ab · C · Eb) 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

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

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, Cm, Bb, F — vi–ii–I–V from the Bb side, i–iv–III–VII from the Gm side. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. The final chord is D; the ear comes to rest in Bb.

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.