Serdar Ortaç - Dansöz - Chord

Key Bb major – G minor Chords G#m, C#m, D#m, F#, F#m, E Easy key F# (capo 4)

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Capo 0

G#m                   D#m       F#                   G#m
İtiraf ediyorum sana itiraf, başladı yaralı aşklara tadilat
                         D#m                 
Masumum, dışarıdan daha masumum
F#m                        G#m
Maalesef, bunun için sana mecburum

G#m                 D#m       
Yüksek uçan kuşun, yüreği sarhoşun
                 C#m
Acı çeker gibi, kölesi olmuşum
G#m              D#m
Kavga edenlere, bana küsenlere
                   C#m
Yüreği çark edip, geri dönenlere

G#m               C#m
Affet diyen kim, ez geç diyen kim
E                   F#  G#m
Aşktan çeken kim, benim kadar  

G#m
Ölene kadar aşık olamazsın, birisi çıkar onu anlayamazsın
C#m                                          G#m
Sen o tür oyunlara katlanamazsın, senin bir kalbin var
G#m
Hadi diyelim biri çok deli sevdi, senin için her şeyi her şeyi verdi
C#m                                             G#m
Ya bir gün olur sana bel kıvırırsa, binlerce dansöz var

End of song Play again?

Serdar Ortaç - Dansöz Tabs

NotesX

Harmony analysis

Serdar Ortaç – Dansöz: key and chord analysis

The song opens on G#m and ends on G#m. 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
biii	C#m	Chromatic colour chordoutside the key	C# · E · G#	5×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
iv	D#m	Minor iv — borrowed from the parallel minorborrowed chord	D# · F# · A#	4×
#IV	E	Chromatic colour chordoutside the key	E · G# · B	1×
V	F	Dominant — strongest pull home	F · A · C	—
bVI	F#	Borrowed from the parallel minorborrowed chord	F# · A# · C#	2×
bvi	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
bvii	G#m	Chromatic colour chordoutside the key	G# · B · D#	11×
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	—
bii	G#m	Chromatic colour chordoutside the key	G# · B · D#	11×
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	—
#iv	C#m	Chromatic colour chordoutside the key	C# · E · G#	5×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
vi	D#m	Chromatic colour chordoutside the key	D# · F# · A#	4×
#VI	E	Chromatic colour chordoutside the key	E · G# · B	1×
VII	F	Subtonic — steps back to the tonic	F · A · C	—
#VII	F#	Chromatic colour chordoutside the key	F# · A# · C#	2×
#vii	F#m	Chromatic colour chordoutside the key	F# · A · C#	1×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 24 times in total; 0 of them sit naturally inside the shared scale. D#m, F# are borrowed from the parallel minor, adding a darker shade to the major side.

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 G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
Over C#m, land on C#, E, G# — the chord's own tones always sound right on strong beats.
Over D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
On D#m, follow the chord's notes (D# · F# · A#) rather than the key's scale — it's a borrowed colour.

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

4 semitones down · capo 4 keeps the original pitch
1 semitone up

The song's harmonic story

The first chord is G#m; the ear learns where home is within a second. G#m, C#m, D#m, F# carry the song: bvii–biii–iv–bVI relative to Bb, bii–#iv–vi–#VII relative to Gm. D#m briefly darkens the picture: minor iv — borrowed from the parallel minor. It closes on G#m, 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.