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)
Eylem Aktaş - Dalgakıran - Chord
Key Bb major – G minor Chords F, Eb, Cm, Dm, Gm, Bb, Em Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm F Eb F Gm F Cm Dm F Eb F Eb Aşk herkesi, kırar biraz F Eb Cm Dm Eksilmesin, acısı şükret F Eb F Eb Varsın ağlasın, dalda kiraz F Eb Cm Dm Herkes kendine, sürgün biraz F Çocuk gülüşün dünden bir yara Bb F Aşk bize sıla F Günler gelir ve büyürüz elbet Bb F Aşk bize gurbet Gm F Ayışığı dalgakıran Eb F Yarada tuz aşktan kalan Gm F Ayışığı tende bıçak Cm Dm Giden sürgün kalan kaçak Cm Dm Cm Em Aşk bize sıla, aşk bize gurbet F Eb F Eb Kapansın yarası, şu gecenin F Eb Cm Dm Ayrılıklar, örtsün üstümü F Eb F Eb Kimim kimsemdi, ah gözlerin F Eb Cm Dm Gidecek yeri, yok kimsenin
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Eylem Aktaş - Dalgakıran Tabs
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Harmony analysis
Eylem Aktaş – Dalgakıran: key and chord analysis
The song opens on Gm and ends on Dm. 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 opens on Gm and Gm is heard 4 times against 2 for Bb. 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 | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 7× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 14× |
| #iv | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| V | F | Dominant — strongest pull home | F · A · C | 22× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | 7× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 14× |
| #vi | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 22× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 58 times in total; 6 of them sit naturally inside the shared scale. Em step outside the scale as colour chords.
Chord movement
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×10
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×3
- F Bb BbV → Iauthentic cadence GmVII → III ×2
The move to watch is Eb → F, heard 10 times. From the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IV → V (IV → V: the lift that builds tension before home). 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 F, land on F, A, C — 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
Starting on Gm, the song gives away its key from the very first bar. F, Eb, Cm, Dm carry the song: V–IV–ii–iii relative to Bb, VII–VI–iv–v relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): VI → VII — the rising step that heads for the tonic. Ending on Dm, the song seals Bb 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.
Eylem Aktaş - Dalgakıran 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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