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)
Salih Yılmaz - Gelini - Chord
Key Bb major – G minor Chords Gm, Cm, Bb, F Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Gelini gelini
Cm
Bu evin tavanı yok
Bb F
Gelini aman aman
Gm Cm
Bu evin tavanı yok
Bb F
Gelini aman aman
Gm
Gelini gelini
Cm
Yıldızlar göremiyor
Bb F
Gelini aman aman
Gm Cm
Yıldızlar göremiyor
Bb F
Gelini aman aman
Gm
Gelini gelini
Cm
Maşallah enişteye
Bb F
Gelini aman aman
Gm Cm
Maşallah enişteye
Bb F
Gelini aman aman
Gm
Gelini gelini
Cm
Ne güzel göremiyor
Bb F
Gelini aman aman
Gm Cm
Ne güzel göremiyor
Bb F
Gelini aman aman
Gm
Enişte enişte
Cm
Enişte boyun uzun
Bb F
Enişte aman aman
Gm Cm
Enişte boyun uzun
Bb F
Enişte aman aman
Gm
Enişte enişte
Cm
Değersin yapraklara
Bb F
Enişte aman aman
Gm Cm
Değersin yapraklara
Bb F
Gelini aman aman
Gm
Enişte enişte
Cm
Bu gelin kurban Olsun
Bb F
Enişte aman aman
Gm Cm
Bu gelin kurban Olsun
Bb F
Gelini aman aman
Gm
Enişte enişte
Cm
Bastığın topraklara
Bb F
Enişte aman aman
Gm Cm
Bastığın topraklara
Bb F
Enişte aman aman
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Salih Yılmaz - Gelini Tabs
NotesX
Harmony analysis
Salih Yılmaz – Gelini: key and chord analysis
The song opens on Gm and ends on F. 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. 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 | 16× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 16× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | 16× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 16× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 16× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 16× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 64 times in total; 4 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
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×15
The move to watch is F → Gm, heard 15 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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 opening Gm lays a solid floor for everything that follows. The backbone is Gm, Cm, Bb, F — vi–ii–I–V from the Bb side, i–iv–III–VII from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. It closes on F, letting the Bb 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.
Salih Yılmaz - Gelini 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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