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)
Ajda Pekkan - Palavra Palavra - Chord
Key Bb major – G minor Chords Gm, Cm, D7, F7, A#, B7, F, D# … Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Cm F7 Gm
Aynı sözler söylediğin hep boş sözler
Cm D7
Kolay sözler
Gm Cm F7 Gm
Bu hergünki sudan sözler boş vaatler
Cm D7
Daha neler
Gm Cm A#
Artık bitsin sus hiç konuşma
Cm B7
Anlamam kendini hiç yorma boşuna
Gm Cm
Belki tatlı tatlı bu yalanlar
Gm Cm F
Gül kokan rüzgarla nasıl geçermiş gelecek yıllar
A# D#
Yere iner mi gökteki yıldızlar
Cm
Dinleyemem bunlar hep boş laflar
G7 D7
Aşk bitince sözler neye yarar
Gm
Palavra palavra palavra
Cm
Palavra palavra palavra
F7
Palavra palavra palavra
F6 Gm Cm7
Palavra palavra palavra palavra palavra
D7 Gm
Hepsi palavra inanmam sana
Gm Cm F7 Gm
Ne romantik bu sözleri çok dinledim
Cm D7
Çok dinledim
Gm Cm F7 Gm
Hepinizde aynı taktik aynı yalan
Cm D7
Beğenmedim
Gm Cm A#
Başlayınca sen susmaz mısın
Cm B7
Gülüyorum haline anlamaz mısın
Gm Cm
Belki tatlı tatlı bu yalanlar
Gm Cm F
Gül kokan rüzgarla nasıl geçermiş gelecek yıllar
A# D#
Yere iner mi gökteki yıldızlar
Cm
Dinleyemem bunlar hep boş laflar
G7 D7
Aşk bitince sözler neye yarar
Gm
Palavra palavra palavra
Cm
Palavra palavra palavra
F7
Palavra palavra palavra
F6 Gm Cm7
Palavra palavra palavra palavra palavra
D7 Gm
Hepsi palavra inanmam sana
End of song Play again?
Ajda Pekkan - Palavra Palavra Tabs
NotesX
Harmony analysis
Ajda Pekkan – Palavra Palavra: 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.
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 both starts and finishes on Gm, Gm is heard 20 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | A# | Tonic — home | A# · D · E# | 4× |
| bII7 | B7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | B · D# · F# · A | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 20× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 8× |
| IV | D# | Subdominant — moves away from home | D# · G · A# | 2× |
| V7 | F7 | Dominant — strongest pull home | F · A · C · Eb | 6× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| V6 | F6 | Dominant — strongest pull home | F · A · C · D | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 20× |
| V7/ii | G7 | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D · F | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 20× |
| V7/iv | G7 | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D · F | 2× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | A# | Relative major — the bright side | A# · D · E# | 4× |
| #III7 | B7 | Chromatic colour chordoutside the key | B · D# · F# · A | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 20× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 8× |
| VI | D# | Submediant — warm colour | D# · G · A# | 2× |
| VII7 | F7 | Subtonic — steps back to the tonic | F · A · C · Eb | 6× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
| VII6 | F6 | Subtonic — steps back to the tonic | F · A · C · D | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 11 different chords appear 70 times in total; 8 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 D7 is V7/vi, a secondary dominant heading for Gm. G7 acts as a secondary dominant, briefly pointing at another chord of the key. B7 is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×8
- Cm F7 Bbii → V7ii → V Gmiv → VII7 ×6
- F7 Gm BbV7 → videceptive cadence GmVII7 → iAeolian arrival ×4
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×4
- F A# BbV → Iauthentic cadence GmVII → III ×2
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
The move to watch is D7 → Gm, heard 8 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). 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 D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
- On B7, follow the chord's notes (B · D# · F# · A) 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
- 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, Cm, D7, F7 — vi–ii–V7/vi–V7 from the Bb side, i–iv–V7–VII7 from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. 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.
Ajda Pekkan - Palavra Palavra 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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