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)
Müslüm Gürses - Gönül - Chord
Key Bb major – G minor Chords F, Eb, Dm, Cm, Bb Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Dm F Eb Bunca yıl herkesten kaçtın en sonunda buldun sandın Cm F Eb Dm Ansızın içini açtın yapma dedim yaptın gönül Dm F Eb Gözleri senden uzaktı farkedilmez bir tuzaktı Cm F Eb Dm Sana böylesi yasaktı yapma dedim yaptın gönül Bb F O bir yolcu sen bir hancı gördüğün en son yalancı Eb Dm Cm İçindeki derin sancı gitmez dedim kaldı gönül F Eb Sen istedin ben dinledim senden ayrı olmaz dedim Cm F Eb Bb En sonunda bende sevdim şimdi beni kurtar gönül Dm F Eb Gözlerin bakarda görmez ellerin tutarda bilmez Cm F Eb Dm Gece gündüz farkedilmez demedim mi sana gönül Dm F Eb Sabahın tam üçündesin dertlerin en gücündesin Cm F Eb Dm Hala onun peşindesin gitme dedim gittin gönül Bb F Böylesi sevdiğin için bir kördüğüm oldu için Eb Dm Cm Ağlıyorsun için için demedim mi sana gönül F Eb Sen istedin ben dinledim senden ayrı olmaz dedim Cm F Eb Bb En sonunda bende sevdim şimdi beni kurtar gönül
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Müslüm Gürses - Gönül Tabs
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Harmony analysis
Müslüm Gürses – Gönül: key and chord analysis
The song opens on Dm and ends on Bb. 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 Bb major side because it comes to rest on Bb and Bb is heard 4 times while Gm never appears. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | 4× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 10× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 14× |
| V | F | Dominant — strongest pull home | F · A · C | 14× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 4× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | 10× |
| 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 | 14× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 50 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Cm F Bbii → Vii → V Gmiv → VII ×8
- Eb Bb BbIV → Iplagal cadence GmVI → III ×2
The move to watch is Cm → F, heard 8 times. From the Bb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Gm side it is iv → VII. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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
- 4 semitones up
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The backbone is F, Eb, Dm, Cm — V–IV–iii–ii from the Bb side, VII–VI–v–iv from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → F (ii → V in Bb, iv → VII in Gm): ii → V — the classic preparation of the dominant. It closes on Bb, 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.
Müslüm Gürses - Gönül 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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Lyrics: Fikret KızılokMusic: Özkan Samioğlu
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