Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Bendeniz - Müjdeler Ver - Chord
Key Gb major – Eb minor Chords G#m, A#m, C#, Bbm, B, Abm, D#m, Gb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
A#m
Bir sabah uyanip da
G#m
Bakarım belki olursun yanımda
Bbm B
Dokunur gururuma
C# B C# A#m
Beklerim seni bu evin anısına
G#m Bbm C#
Yeter yeter geçer
Bbm Abm
D#m
Söyle bana nedir bu tafra
G#m C#
Sebepsiz hiç kaldım yasta
Gb Bbm
Söz ver bana üzme beni
G#m A#m
Kırma beni yormam seni
D#m
Hayırsızım ah hayırsızım
G#m C#
Sensiz inan çok yalnizım
Gb Bbm
Hata degil benim yazgım
G#m A#m
Düzelmiyor sevmen lazım
A#m
Hadi gel müjdeler ver
G#m
Gözlerimdeki yaşı sil yeter
B
Tut tut ellerimi
C# B G#m A#m
Sarıl sen de bana şımarık sevgilim
Bbm Abm
A#m
Hadi gel üzmeden gel
G#m
Ağlıyor kalbim sev yeter
B
Sev inan geçer
C# B G#m A#m
Zordu yordu bu acı günler
End of song Play again?
Bendeniz - Müjdeler Ver Tabs
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Harmony analysis
Bendeniz – Müjdeler Ver: key and chord analysis
The song opens on A#m and ends on A#m. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (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 Gb major and Eb 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 Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | 2× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 10× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 2× |
| iii | A#m | Mediant — a tonic-family shade | A# · C# · E# | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 6× |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 6× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 7× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 2× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 2× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 2× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 10× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 2× |
| v | A#m | Minor dominant — soft pull | A# · C# · E# | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 6× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 6× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 7× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 8 different chords appear 43 times in total; 8 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
- B C# GbIV → VIV → V EbmVI → VIIVI → VII ×4
- C# Gb GbV → Iauthentic cadence EbmVII → III ×2
- G#m C# Gbii → Vii → V Ebmiv → VII ×2
- Abm D#m Gbii → vi Ebmiv → iminor plagal ×1
- A#m D#m Gbiii → vi Ebmv → inatural-minor cadence ×1
The move to watch is B → C#, heard 4 times. From the Gb side it reads IV → V (IV → V: the lift that builds tension before home); from the Ebm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is A#m; the ear learns where home is within a second. The chords that keep coming back are G#m, A#m, C#, Bbm; read them as ii–iii–V–iii in Gb or iv–v–VII–v in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → C# (IV → V in Gb, VI → VII in Ebm): IV → V — the lift that builds tension before home. It closes on A#m, letting the Gb 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.
Bendeniz - Müjdeler Ver 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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Lyrics: BendenizMusic: Bendeniz
Zeynep Türker
Zeynep Türker
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