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)
Demet Akalın - Marlin - Chord
Key Bb major – G minor Chords Cm, Gm, F, Dm, Bb, D, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Gm
Çok yer gezdim çok şey gördüm
Cm
Tesadüflere inanmam
F
Gün akşamlı, dünya ölümlü
Bb D
Burada da fazla kalamam
Gm
Hayat biraz adil olsaydı
Cm
Marlin Monroe olurdum
F
Uçuşurdu beyaz eteklerim
Bb D
Bakakalmış dururdun
Gm Dm
O kadar bulaşıcı ki yalnızlık
F Cm
Kendimden bile kaçıyorum
Eb Cm
Aklımı seveyim aşık olmadım
F Dm
Olanlara acıyorum
Gm Cm F
Sürün sürün sürün sürün aşkımdan
Dm Cm Dm
Çok üzgünüm sürün sürün aşkımdan
Dm Eb F Gm
Gm Cm F
Sürün sürün sürün sürün aşkımdan
Dm Cm Dm
Çok üzgünüm sürün sürün aşkımdan
End of song Play again?
Demet Akalın - Marlin Tabs
NotesX
Harmony analysis
Demet Akalın – Marlin: 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)
- #7 = F# (harmonic-minor leading tone from the V chord)
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, Gm is heard 7 times against 2 for Bb and the major V chord points straight at 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 | 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 | 2× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 2× |
| V | F | Dominant — strongest pull home | F · A · C | 7× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 7× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 7× |
| 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 | 2× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 2× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 7× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 35 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.
Chord movement
- Cm F Bbii → Vii → V Gmiv → VII ×5
- F Bb BbV → Iauthentic cadence GmVII → III ×2
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
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. Cm, Gm, F, Dm carry the song: ii–vi–V–iii relative to Bb, iv–i–VII–v relative to Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. 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 Dm, 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.
Demet Akalın - Marlin 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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