Kıraç - Hasret - Chord

Key Bb major – G minor Chords Dm, G, Bb, Am, Eb, Gm, Cm Easy key C

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Capo 0

Dm                  Eb        G
O gözler bana eskisinden yabancı 
Dm                 Bb      Gm    Am    Dm
Gönlümdeki bu sevda hiç dinmeyen bir acı 

    Dm                Cm           G
Ruhumun kederinden gözlerim yaşla doldu 
      Dm        Bb        G     Am   Dm
İnliyorum derinden bana bilmem ne oldu

Dm                  Eb             G
En candan arkadaşım ruhumu saran gece 
Dm                Bb      Gm   Am    Dm
Ben kime bağlanmışım ağlıyorum gizlice 

     Dm                   Cm        G
Kimsesiz karanlıklar derdime şifa verin
      Dm       Bb        G    Am   Dm
Kalbimdeki yaralar daha çok daha derin

End of song Play again?

Kıraç - Hasret Tabs

NotesX

Harmony analysis

Kıraç – Hasret: key and chord analysis

The song opens on Dm and ends on Dm. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb major side because Bb is heard 4 times against 2 for Gm. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	4×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	12×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	2×
V/ii	G	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D	6×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	4×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	2×
V/iv	G	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D	6×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	4×
III	Bb	Relative major — the bright side	Bb · D · F	4×
iv	Cm	Subdominant — moves away from home	C · Eb · G	2×
v	Dm	Minor dominant — soft pull	D · F · A	12×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	—

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 32 times in total; 5 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over G, land on G, B, D — 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.

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

Starting on Dm, the song gives away its key from the very first bar. The backbone is Dm, G, Bb, Am — iii–V/ii–I–vii from the Bb side, v–V/iv–III–ii from the Gm side. G adds a moment of surprise: secondary dominant V/ii — leads to Cm. Ending on Dm, 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.