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)
Tanju Okan - Papatya Gibisin Beyaz ve İnce - Chord
Key Bb major – G minor Chords Gm, D7, Cm, G7, A7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm
Papatya gibisin beyaz ve ince
D7 Gm
Eziliyor ruhum seni görünce
Gm G7 Cm
İsmin dudaklarımı yakıyor neden
A7 D7 Gm D7
Nedir bu çektigim senin elinden
Gm Cm
Yalvarırım sana gel üzme beni
D7 Gm
İnan bana çok seviyorum seni
Gm G7 Cm
Gel kollarıma artık bekliyorum
A7 D7 Gm
Papatyam seni özlüyorum
Gm D7
Neden sanki öyle dudak büküyorsun
Gm
Yoksa açık söyle hiç mi sevmiyorsun
D7
Sana soruyorum neden susuyorsun
Gm
Bana bu sevgiyi çok mu görüyorsun
G7 Cm Gm
Bilsem söyler miydim gizli hislerimi
D7
Keşke görmeseydim gülen gözlerini
Gm D7
Biliyorum fakat sen de seviyorsun
Gm
Anladım çapkınca naz ediyorsun
End of song Play again?
Tanju Okan - Papatya Gibisin Beyaz ve İnce Tabs
NotesX
Harmony analysis
Tanju Okan – Papatya Gibisin Beyaz ve İnce: key and chord analysis
The song opens on Gm and ends on Gm. 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 both starts and finishes on Gm, Gm is heard 14 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 | 5× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 9× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 14× |
| V7/ii | G7 | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D · F | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| V7/iii | A7 | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E · G | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 14× |
| V7/iv | G7 | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D · F | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| V7/v | A7 | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E · G | 2× |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 5× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 9× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 33 times in total; 2 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 D7 is V7/vi, a secondary dominant heading for Gm. G7, A7 act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×9
- G7 Cm BbV7/ii → iisecondary resolution GmV7/iv → iv ×3
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×2
- A7 D7 BbV7/iii → V7/visecondary resolution GmV7/v → V7 ×2
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
The move to watch is D7 → Gm, heard 9 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D7, 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.
- When D7 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
The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, D7, Cm, G7; read them as vi–V7/vi–ii–V7/ii in Bb or i–V7–iv–V7/iv in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals Gm 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.
Tanju Okan - Papatya Gibisin Beyaz ve İnce 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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