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)
Şevval Sam - Çayelinden Öteye - Chord
Key Bb major – G minor Chords Gm, Eb, Cm, D, Gb Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm Eb Cm D Gm Eb Çayelinden öteye, gidelum yali yali Cm D Gidelum yali yali, gidelum yali Gm Eb Sirtindaki sepetun, ben olayım hamali Cm D Ben olayım hamali, ben olayım ha Gm Eb Cm D Gm Eb Sepetunun ipleri, keseyi omuzuni Cm D Keseyi omuzuni, keseyi omu Gm Eb Aç beyaz peştemali, bir göreyum yuzuni Cm D Bir göreyum yuzuni, bir göreyum yu Gm Eb Cm D Gm Eb Menşure deduklari, kıs sen misun sen misun Cm D Kıs sen misun sen misun, kıs sen misun sen Gm Gb Alemun dilindesun, o kadar güzelmisun Gm Gb Eydum finduk dalini, gel teşure teşure Gm Gb Aduni bilmeyirum, adun olun Menşure Gm Gb Funduk toplamak için, eydum funduk dalini Gm Gb Ben acirum acirum, Menşurenin halini Gm Gb Bize gölge edeyi, funduğun yapraklari Gm Eb Kız sana haram olsun, Çayeli topraklari Cm D Çayeli topraklari, Çayeli toprak
End of song Play again?
Şevval Sam - Çayelinden Öteye Tabs
NotesX
Harmony analysis
Şevval Sam – Çayelinden Öteye: key and chord analysis
The song opens on Gm and ends on D. 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)
- #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 opens on Gm, Gm is heard 15 times while Bb never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 9× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 9× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 9× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| bVI | Gb | Borrowed from the parallel minorborrowed chord | Gb · Bb · Db | 6× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 15× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 15× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 9× |
| 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 | 9× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 9× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
| #VII | Gb | Chromatic colour chordoutside the key | Gb · Bb · Db | 6× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 48 times in total; 3 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 D is V/vi, a secondary dominant heading for Gm. Gb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Cm D Bbii → V/vi Gmiv → Viv → V ×9
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×8
The move to watch is Cm → D, heard 9 times. From the Gm side it is iv → V (iv → V: the minor side's tension builder); from the Bb side it reads ii → V/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 Eb, land on Eb, G, Bb — 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.
- When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
- On Gb, follow the chord's notes (Gb · Bb · Db) 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 opening Gm lays a solid floor for everything that follows. The backbone is Gm, Eb, Cm, D — vi–IV–ii–V/vi from the Bb side, i–VI–iv–V from the Gm side. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm → D (ii → V/vi in Bb, iv → V in Gm): iv → V — the minor side's tension builder. Ending on D, the song seals Bb 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.
Şevval Sam - Çayelinden Öteye 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.