Gülşen - Bi An Gel - Chord

Key Bb major – G minor Chords Dm, F, D#, Gm, Cm Easy key C

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Capo 0

Dm
Gittiğin uzun uzun uzun yollar
     D#                  Cm       Dm
Seni geri getirmesini de bilsin o zaman
Dm
Halim tavrım vaziyetim ortada
D#          Cm           Dm
Yerdeyim düştüm kaldır o zaman

Dm 
Bi an gel dön gel hep gel
F               Gm
Tövbeleri bozup gel
      D#
Ya da kal orada
    Cm             Dm
Ben sana geleyim o zaman

Dm
Çekip sağa inmesini de bilirim

İcabında sen olacağına bak
Gm               D#            Dm
Sen haklı çık da didişmelerden gocunmam
       F       Dm
Alkışlarım şak şak

Dm
Aç bilaç dönmesini de bilirim
İcabında sen olacağına bak
Gm             D#
Sabahlar olmaz sevişmelerden
Dm             F       Dm
Gönlünü alıveririm şip şak

Gm         Dm
Say çocukluğuma
F          D#    F
Say cahilliğime
Gm            Dm
İster haylazlığıma
F            D#   F
İster ayvazlığıma

Gm         Dm
Say çocukluğuma
F          D#    F
Say cahilliğime
Gm            Dm
İster haylazlığıma
  F   D#     Dm
İster ayvazlığıma
  F   D#     Dm
İster aymazlığıma

Dm
Aç bilaç dönmesini de bilirim
İcabında sen olacağına bak
Gm             D#
Sabahlar olmaz sevişmelerden
Dm             F       Dm
Gönlünü alıveririm şip şak

End of song Play again?

Gülşen - Bi An Gel Tabs

NotesX

Harmony analysis

Gülşen – Bi An Gel: 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 G minor side because Gm is heard 8 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	3×
iii	Dm	Mediant — a tonic-family shade	D · F · A	21×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	D#	Subdominant — moves away from home	D# · G · A#	11×
V	F	Dominant — strongest pull home	F · A · C	12×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	8×
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	8×
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	3×
v	Dm	Minor dominant — soft pull	D · F · A	21×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	D#	Submediant — warm colour	D# · G · A#	11×
VII	F	Subtonic — steps back to the tonic	F · A · C	12×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 55 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

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
D# F BbIV → VIV → V GmVI → VIIVI → VII ×3

The move to watch is F → Gm, heard 4 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on 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 Dm, land on D, F, A — 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.
Over D#, land on D#, G, 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

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. Dm, F, D#, Gm carry the song: iii–V–IV–vi relative to Bb, v–VII–VI–i relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. It closes on Dm, 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.