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)
Peyk - Suluşaka - Chord
Key Bb major – G minor Chords Gm, F, Cm, G#, A7, A Easy key C
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Key: Bb | Gm
Capo: 0
Gm F Gm F Beni mahvet kısasa kısas Gm F İntikamı al yarama bas Cm Gm Sulu bir şaka bu hayat A7 Cm Gm Var olan katlanmak zorunda Gm F At istersen her şeyi Gm F Hıncını al yarana bas Cm Gm Bu hayat böyle bir oyun A7 Cm Gm Var olan dayanmak zorunda Cm F Neden sonra hep sonra G# Gm Sonra sonra anlarsın Cm F Bugün yok ki yarın olsun G# Gm Düşünme kaybolursun Gm F Cm Gm A Cm Gm Cm F Varsın olsun sen yine G# Gm Bildiğin gibi oyna Cm F Bugün yok ki yarın olsun G# Gm Düşünme kaybolursun
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Peyk - Suluşaka Tabs
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Harmony analysis
Peyk – Suluşaka: 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)
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 and Gm is heard 16 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 | 10× |
| 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 | 10× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| bVII | G# | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G# · B# · D# | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| VII7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 2× |
| VII | A | Chromatic colour chordoutside the key | A · C# · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| bII | G# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G# · B# · D# | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| II7 | A7 | Chromatic colour chordoutside the key | A · C# · E · G | 2× |
| II | A | Chromatic colour chordoutside the key | A · C# · E | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 10× |
| 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 | 10× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 43 times in total; 3 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 ×6
- Cm F Bbii → Vii → V Gmiv → VII ×4
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×3
The move to watch is Cm → Gm, heard 6 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 F, land on F, A, C — 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.
- 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, F, Cm, G#; read them as vi–V–ii–bVII in Bb or i–VII–iv–bII in 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 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.
Peyk - Suluşaka 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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