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)
Ebru Gündeş - Hayatta Başarılar Diliyorum - Chord
Key Bb major – G minor Chords Cm, D#, Gm, D, F, Dm, G Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm Bir hikaye daha bitti bitiyor Gm Cm Göz göre göre kaçıp gidiyor elden Gm Cm D# D Ne hazindir hayat eksiliyor sabrederken Gm Cm Git gide imkansızlaşıyor Gm Cm Tende vakit geç, canda erken Gm Cm D# D Her insan diğerine benziyor kaybederken D# F Cm Dm Acı günler var önümüzde, kurudu yaşlar gözümüzde D# F D# D Duramadık ki sözümüzde, tarih tekrar ediyor D# F Dm G Hayatta başarılar diliyorum, hayatta başarılar diliyorum Cm F D# D Laf olsun diye değil samimiyim, iyiliğini istiyorum
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Ebru Gündeş - Hayatta Başarılar Diliyorum Tabs
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Harmony analysis
Ebru Gündeş – Hayatta Başarılar Diliyorum: 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 6 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 | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 2× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 4× |
| IV | D# | Subdominant — moves away from home | D# · G · A# | 7× |
| V | F | Dominant — strongest pull home | F · A · C | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| V/ii | G | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 1× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 6× |
| V/iv | G | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 1× |
| 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 | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | 2× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 4× |
| VI | D# | Submediant — warm colour | D# · G · A# | 7× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 4× |
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. 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. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×4
- D# F BbIV → VIV → V GmVI → VIIVI → VII ×3
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×1
- Cm F Bbii → Vii → V Gmiv → VII ×1
The move to watch is Cm → Gm, heard 4 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 Cm, land on C, Eb, G — 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.
- Over Gm, land on G, Bb, D — 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.
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 Gm, the song gives away its key from the very first bar. Cm, D#, Gm, D carry the song: ii–IV–vi–V/vi relative to Bb, iv–VI–i–V relative to Gm. 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 → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. It closes on D, 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.
Ebru Gündeş - Hayatta Başarılar Diliyorum 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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