Flört - Onun Adı Hasan - Chord

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

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Capo 0

Eb           F            Gm
Her güzelin bir kusuru varmış
Eb           F          Gm    
Güzeller kusursuz olmazmış
Eb           F        Bb                     
Aslan gibi yürekli insanoğlu kadar korkak
Eb          F            Gm
İşte böyleydi dağlı Hasan
Eb           F          Bb 
Bir kitap gibi suçlu melekler kadar temiz
Eb            F          Gm
Senin benim gibi bir insan

            Eb  F            Gm
Onun adı Hasan uzaklarda yaşar
           Eb   Am          Gm
Onun adı Hasan kalbimi dağlar

Eb         F         Gm
Bilmem ki neyi beğenmedi
Eb           F        Gm
Bir kamyona bindi gitti
Eb            F           Bb
Şimdi tek adı kaldı bir de söylenen türküsü
Eb           F
O gün bugün gelmez gerisi
Eb          F          Bb
Onu hep hatırlarım çünkü o böyle isterdi
Eb       F          Gm
Acaba beni sever miydi

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Flört - Onun Adı Hasan Tabs

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Harmony analysis

Flört – Onun Adı Hasan: key and chord analysis

The song opens on Eb 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 comes to rest on Gm and Gm is heard 9 times against 4 for Bb. 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	—
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	14×
V	F	Dominant — strongest pull home	F · A · C	13×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	9×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	9×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	1×
III	Bb	Relative major — the bright side	Bb · D · F	4×
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
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	14×
VII	F	Subtonic — steps back to the tonic	F · A · C	13×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 41 times in total; 4 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.

Chord movement

Eb F BbIV → VIV → V GmVI → VIIVI → VII ×13
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×8
F Bb BbV → Iauthentic cadence GmVII → III ×4

The move to watch is Eb → F, heard 13 times. From the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IV → V (IV → V: the lift that builds tension before 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — 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
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening Eb lays a solid floor for everything that follows. Eb, F, Gm, Bb carry the song: IV–V–vi–I relative to Bb, VI–VII–i–III relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): VI → VII — the rising step that heads for the tonic. Ending on Gm, the song seals Gm 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.