Ziynet Sali - Mevsimsizim - Chord

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

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Capo 0

Dm             Cm
Kendimi attım kucağına aşkın
Dm             Cm
Bugünleri de gördüm ya şükür
Dm              Cm
Yollar bizim dön teker üstü
Dm              Cm
Şimdi nereye istersen sür

Dm    Cm

Dm             Cm
Sarı gün yüzü mavi gökyüzü
Dm             Cm
Terside olur bozulmaz büyü
Dm            Cm
Mevsimsizim istisnasız
Dm               Cm
Nereye istersen gelirim ben

Dm    Cm

Dm      Gm     C        F  Bb       Eb
Unutturdun bana, evlerimi, dertlerimi
Cm               Dm           Gm    C    
Ben sorsam susardı konuşturdu katilimi
             F  Bb      Eb  Cm      Dm
Benden sana söz bende bulucam katili 

Dm     Cm

Dm              Cm
Aradığım yerde aklımdayım
Dm            Cm
Yıldızların altındayım
Dm             Cm
Gözümün feri, canımın içi
Dm             Cm
Sadece senin, sen istersen

Dm    C

Dm              Cm
Paradan puldan pul damladır
Dm              Cm
Aşktan meşkten yaş damladır
Dm              Cm
Biter aşk hali hoppala güm güm
Dm              Cm
Kafayı değiştir her yer bizim

End of song Play again?

Ziynet Sali - Mevsimsizim Tabs

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Harmony analysis

Ziynet Sali – Mevsimsizim: key and chord analysis

The song opens on Dm and ends on Cm. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.

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	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	21×
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	3×
iii	Dm	Mediant — a tonic-family shade	D · F · A	23×
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	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	2×
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	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	21×
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	3×
v	Dm	Minor dominant — soft pull	D · F · A	23×
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	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 55 times in total; 6 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F Bb BbV → Iauthentic cadence GmVII → III ×2
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2

The move to watch is F → Bb, heard 2 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → III. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — 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 first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Cm, C, Gm — iii–ii–V/V–vi from the Bb side, v–iv–IV–i from the Gm side. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. Ending on Cm, 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.