Serdar Ortaç - Bilsem ki - Chord

Key Eb major – C minor Chords Gm, Cm, Fm, A#, D#, Bb Easy key C (capo 3)

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Capo 0

     Cm         Gm       Cm       Gm
Dokunsam ağlar mısın, düşünüp o yılları
       A#         Cm        Fm
Bir dokun bin ah işittim senden
     Cm              Gm    Fm    Gm
Bu kadar kolay mıydı vazgeçmek benden

    Cm        Gm
Ağlasam duyar mısın feryadımı
    Cm         Gm
Yüzüme bakar mısın son kez
   A#         Cm         Fm
İçimde yorgunluğun mutsuzluğun
  Cm                     Gm   Fm    Gm
Sebebi bir tek sensin bu umutsuzluğumun

D#                       A#
Kalbim yıllar geçse de affetmeyecek
                   Cm
Bilsem ki gözyaşım hiç dinmeyecek
                    Fm
Sensiz bu son gecem bu son sabahım
Cm           Gm     Fm      Gm
Tadı yok bu mevsim ayrılıkların

Gm                 Fm
Bilsem ki bir daha hiç dönmeyecek
Cm                  Gm          Bb
Bilsem ki göz yaşım hiç dinmeyecek
Gm               Fm
Utanmam yenilmem mutsuzluğuma
Cm              A#      Fm     Gm
Şimdi sensiz cehennemde yaşlanacağım

End of song Play again?

Serdar Ortaç - Bilsem ki Tabs

NotesX

Harmony analysis

Serdar Ortaç – Bilsem ki: key and chord analysis

The song opens on Cm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because it opens on Cm and Cm is heard 12 times against 1 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	D#	Tonic — home	D# · G · A#	1×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	9×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	14×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	A#	Dominant — strongest pull home	A# · D · E#	4×
V	Bb	Dominant — strongest pull home	Bb · D · F	1×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	12×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	12×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	D#	Relative major — the bright side	D# · G · A#	1×
iv	Fm	Subdominant — moves away from home	F · Ab · C	9×
v	Gm	Minor dominant — soft pull	G · Bb · D	14×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	A#	Subtonic — steps back to the tonic	A# · D · E#	4×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	1×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 6 different chords appear 41 times in total; 6 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

Fm Cm Ebii → vi Cmiv → iminor plagal ×5
A# Cm EbV → videceptive cadence CmVII → iAeolian arrival ×3
Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3

The move to watch is Fm → Cm, heard 5 times. From the Cm side it is iv → i (minor plagal: deep and melancholic); from the Eb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — 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 Fm, land on F, Ab, C — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

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

The song's harmonic story

Starting on Cm, the song gives away its key from the very first bar. The backbone is Gm, Cm, Fm, A# — iii–vi–ii–V from the Eb side, v–i–iv–VII from the Cm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Cm (ii → vi in Eb, iv → i in Cm): minor plagal — deep and melancholic. Ending on Gm, the song seals Eb 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.