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)
Doğa İçin Çal - Çökertme - Chord
Key Bb major – G minor Chords F, Cm, Dm, Eb, Bb, G, Gm Easy key C
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Key: Bb | Gm
Capo: 0
F Bb Çökertmeden çıktım da Halil’im G Cm Dm Aman başım selamet Gm F Bitez’de yalısına varmadan Halil’im Eb Cm Dm Aman koptu kıyamet Eb F Bitez’de yalısına varmadan Halil’im Cm Eb Dm Aman koptu kıyamet F Bb Arkadaşım İbram Çavuş G Cm Dm Allah'ıma emanet Gm F Burasıda Aspat değil Halil’im Eb Cm Dm Aman Bitez yalısı Eb F Ciğerime ateş saldı Cm Eb Dm Aman kurşun yarası F Bb Güvertede gezer iken G Cm Dm Aman kunduram kaydı Gm F İpekli mendilimi Eb Cm Dm Aman o rüzgar aldı Eb F İpekli mendilimi Cm Eb Dm Aman o rüzgar aldı F Bb Çakır da gözlü Gülsü'mümü G Cm Dm Çerkes kaymakam aldı Gm F Burasıda Aspat değil Halil’im Eb Cm Dm Aman Bitez yalısı Eb F Ciğerime ateş saldı Cm Eb Dm Aman kurşun yarası F Bb Gidelim gidelim Halilim G Cm Dm Çökertmeye varalım Gm F Kolcular gelirse Halilim Eb Cm Dm Nerelere kaçalım Eb F Kolcular gelirse Halilim Cm Eb Dm Nerelere kaçalım F Bb Teslim olmayalım Halilim G Cm Dm Aman kurşun saçalım Gm F Burasıda Aspat değil Halil’im Eb Cm Dm Aman Bitez yalısı Eb F Ciğerime ateş saldı Cm Eb Dm Aman kurşun yarası
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Doğa İçin Çal - Çökertme Tabs
/videos/doga-icin-cal-cokertme-tab.mp4
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Harmony analysis
Doğa İçin Çal – Çökertme: key and chord analysis
The song opens on F 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: 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | 6× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 18× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 18× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 18× |
| V | F | Dominant — strongest pull home | F · A · C | 18× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| V/ii | G | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 6× |
| V/iv | G | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 6× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 6× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 18× |
| v | Dm | Minor dominant — soft pull | D · F · A | 18× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 18× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 18× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 90 times in total; 6 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F Bb BbV → Iauthentic cadence GmVII → III ×6
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×6
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×6
The move to watch is F → Bb, heard 6 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → III. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is F; the ear learns where home is within a second. F, Cm, Dm, Eb carry the song: V–ii–iii–IV relative to Bb, VII–iv–v–VI relative to Gm. G adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. The final chord is Dm; the ear comes to rest in Bb.
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.
Doğa İçin Çal - Çökertme 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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