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)
Ozan Doğulu - Derdim Çok (Hande Ünsal) - Chord
Key Bb major – G minor Chords Gm, Eb, Cm, F, Dm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm
Bir yolunu bulamadım ah bunun
Eb
Yok çözümü kaçınılmaz sonun
Cm F
Nedir kaderim benimle zorun
Gm
Derdim çok
Gm Eb Cm F Gm
Gm
Düşündüm yokluğuna
Eb
Alışmışım aslında
Cm
Bir sürü bahanen var bana
F Eb Gm
Ezbere cümleler kurma
Gm Eb
Değeri yok üstelik ilk defa değil
Cm Gm
Sözlerin acıtmıyor beni
Dm Cm
Eskidendi, eskidi resimler gibi
Dm
Geçer dedim direndim aşka
Eb
Bir türlü geçmedi
Gm
Bir yolunu bulamadım ah bunun
Eb
Yok çözümü kaçınılmaz sonun
Cm F
Nedir kaderim benimle zorun
Gm
Derdim çok
Gm
Olurunu bulamadım ah bunun
Eb
Yok çözümü kaçınılmaz sonun
Cm F
Nedir kaderim benimle zorun
Gm
Derdim çok
Gm
Düşündüm yokluğuna
Eb
Alışmışım aslında
Cm Eb
Görmezden gelmişim
Gm
Gerçekleri
End of song Play again?
Ozan Doğulu - Derdim Çok (Hande Ünsal) Tabs
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Harmony analysis
Ozan Doğulu – Derdim Çok (Hande Ünsal): 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)
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 and Gm is heard 14 times while Bb never appears. 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 | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 14× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 14× |
| 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 | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 10× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 39 times in total; 5 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
- Cm F Bbii → Vii → V Gmiv → VII ×5
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
- Eb Gm BbIV → vi GmVI → iVI → i ×3
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
The move to watch is Cm → F, heard 5 times. From the Gm side it is iv → VII; from the Bb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Eb, land on Eb, G, Bb — 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.
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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, Eb, Cm, F; read them as vi–IV–ii–V in Bb or i–VI–iv–VII in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → F (ii → V in Bb, iv → VII in Gm): ii → V — the classic preparation of the dominant. It closes on Gm, letting the Gm 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.
Ozan Doğulu - Derdim Çok (Hande Ünsal) 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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