Göksel - Sabır - Chord

Key Bb major – G minor Chords Gm, Cm, Bb, D7, D, F, Ebmaj7, Cm7 … Easy key C

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Capo 0

Ebmaj7   Cm   D7   Gm

Gm             F7                 Bb
  Canımdan bezdim öyle öyle beterim
             Cm7           D7sus4
  Oyuncak oldum ellerindeyim
  
Eb              F  
  Kölemiyim ben ay
Dm7b5         G7   
  Gel deyince geleyim
Cm7         F    Bb  D 
  Sıkılınca gideyim
Eb           F  
  Yazık bana vay
Dm7b5           G7
  Kime şikayet edeyim
Cm7           F    Bb  D7
  Başından ne bileyim
  
Gm       Bb    Cm  D
  Sabır, sabır ya  sabır
Gm       Bb    Cm  D  
  Sabır sabır ya sabır
Ebmaj7  Cm    D7  Gm
  Belki de  akıllanır ah
Ebmaj7  Cm    D7  Gm
  Belki de  akıllanır
  
  Gm       Bb    Cm  D
  Sabır, sabır ya  sabır
Gm       Bb    Cm  D  
  Sabır sabır ya sabır
Eb7     Cm    D7  Gm
  Belki de  akıllanır ah
Eb7     Cm    D7  Gm
  Belki de  akıllanır

End of song Play again?

Göksel - Sabır Tabs

NotesX

Harmony analysis

Göksel – Sabır: key and chord analysis

The song opens on Ebmaj7 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)
#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 comes to rest on Gm, Gm is heard 10 times against 7 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	7×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	9×
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	3×
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	6×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	5×
viiø7/IV	Dm7b5	Secondary leading-tone chord viiø7/IV — leads to Ebsecondary dominant	D · F · Ab · C	2×
V7/vi	D7sus4	Secondary dominant V/vi — leads to Gmsecondary dominant	D · G · A · C	1×
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	3×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
IV7	Eb7	Chromatic colour chordoutside the key	Eb · G · Bb · Db	2×
V	F	Dominant — strongest pull home	F · A · C	4×
V7	F7	Dominant — strongest pull home	F · A · C · Eb	1×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	10×
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	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	10×
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	Bb	Relative major — the bright side	Bb · D · F	7×
iv	Cm	Subdominant — moves away from home	C · Eb · G	9×
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	3×
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	6×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	5×
viiø7/VI	Dm7b5	Secondary leading-tone chord viiø7/VI — leads to Ebsecondary dominant	D · F · Ab · C	2×
V7sus4	D7sus4	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · G · A · C	1×
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	3×
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
VI7	Eb7	Chromatic colour chordoutside the key	Eb · G · Bb · Db	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	4×
VII7	F7	Subtonic — steps back to the tonic	F · A · C · Eb	1×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 14 different chords appear 57 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 / D / D7sus4 is V7/vi, a secondary dominant heading for Gm. Dm7b5, G7 act as secondary dominants, briefly pointing at another chord of the key.

Chord movement

D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×6
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×5
Cm D Bbii → V/vi Gmiv → Viv → V ×4
F Bb BbV → Iauthentic cadence GmVII → III ×2
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2

The move to watch is D7 → Gm, heard 6 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 Bb, land on Bb, D, F — 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.

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 opening Ebmaj7 lays a solid floor for everything that follows. The backbone is Gm, Cm, Bb, D7 — vi–ii–I–V7/vi from the Bb side, i–iv–III–V7 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.