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)
Güliz Ayla - Yetmedi Mi - Chord
Key Bb major – G minor Chords Ebmaj7, Gm, F, Dm, Cm7, Cmaj7, Dm7, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm Dağıttım orda burda anıları, elimde sağlar kaldı Ebmaj7 Var gücümle son kez sana seslendim, yarım ağız bir ah çıktı Dm Ebmaj7 F Ebmaj7 Gm F Sen uykudayken, ah, ben çoktan yenildim bi' savaşta Dm Ebmaj7 F Cmaj7 Gm Sen uykudayken, ah, çamur lekesi sağımda solumda Gm F Ebmaj7 Dm7 Aldığın, verdiğin hesapların bitmedi mi Cm7 Ebmaj7 Cm7 F Ebmaj7 Bura ne düğün, ne yas, ölüyorum yavaş yavaş, çektiklerim yetmedi mi Gm Mevsimi geldi döktüm yapraklarımı, benim de rengim sarı Eb Ağır geldi katamadım yanıma anıları, eski zamanları
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Güliz Ayla - Yetmedi Mi Tabs
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Harmony analysis
Güliz Ayla – Yetmedi Mi: key and chord analysis
The song opens on Gm and ends on Eb. 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 opens on Gm and Gm is heard 5 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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 2× |
| V/V | Cmaj7 | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G · B | 1× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 2× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 1× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 7× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 1× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 2× |
| IVmaj7 | Cmaj7 | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G · B | 1× |
| v | Dm | Minor dominant — soft pull | D · F · A | 2× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 1× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 7× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 1× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 24 times in total; 7 of them sit naturally inside the shared scale. Cmaj7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×2
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×2
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×1
The move to watch is Ebmaj7 → F, heard 2 times. From the Gm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IVmaj7 → 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 Ebmaj7, land on Eb, G, Bb — 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.
- Over F, land on F, A, C — 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Ebmaj7, Gm, F, Dm; read them as IVmaj7–vi–V–iii in Bb or VImaj7–i–VII–v in Gm. Cmaj7 adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on Ebmaj7 → F (IVmaj7 → V in Bb, VImaj7 → VII in Gm): VI → VII — the rising step that heads for the tonic. It closes on Eb, letting the Bb 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.
Güliz Ayla - Yetmedi Mi 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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