Güliz Ayla - Öyle Sev - Chord

Key Bb major – G minor Chords Dm, Gm, Cm, Eb, F Easy key C

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Capo 0

Gm  Dm  Cm  Dm

Gm                    Cm
Gece şehre düşmüş ben hala uyanık
  F        Dm                   Eb
Görüntün bazen net bazen de bulanık
      Gm                 Cm
Karma var kanıtlandı ben inandım artık
      F                        Dm         Eb
Kimbilir kimler olduk ve kaç kere karşılaştık

Gm
 Önce iki yabancı
Eb
 Sonra iki yalancı
Cm
 Önce iki aşık
F
 Sonra tek kaldık 
Dm
 Yine de denk geldik işte
Eb                Gm
 Hikayemiz ezberimde

Gm         Dm    
Öyle sev öyle sarıl ki
  Cm
Bırak nezaketi
     Dm
Kabullen bu kehaneti
Gm         Dm
Öyle sev öyle sarıl ki
  Cm           Dm
Bırak nezaketi
              Gm
Görelim cesareti

Gm  Dm  Cm  Dm

Gm                        Cm
Elbet biz değildik şehrin tek aşıkları
    F              Dm          Eb
O geceyi unutmam gülüşüne kandığım
     Gm                 Cm
Gözlerin tanıdık bir şeyler hatırlattı
      F                        Dm         Eb
Kimbilir kimler olduk ve kaç kere karşılaştık

Gm
 Önce iki yabancı
Eb
 Sonra iki yalancı
Cm
 Önce iki aşık
F
 Sonra tek kaldık 
Dm
 Yine de denk geldik işte
Eb                Gm
 Hikayemiz ezberimde

Gm         Dm    
Öyle sev öyle sarıl ki
  Cm
Bırak nezaketi
     Dm
Kabullen bu kehaneti
Gm         Dm
Öyle sev öyle sarıl ki
  Cm           Dm
Bırak nezaketi
              Gm
Görelim cesareti

End of song Play again?

Güliz Ayla - Öyle Sev Tabs

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Harmony analysis

Güliz Ayla – Öyle Sev: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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 both starts and finishes on Gm and Gm is heard 16 times while Bb never appears. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	12×
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	8×
V	F	Dominant — strongest pull home	F · A · C	6×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	16×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
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	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	12×
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	8×
VII	F	Subtonic — steps back to the tonic	F · A · C	6×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 60 times in total; 5 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

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×6
Cm F Bbii → Vii → V Gmiv → VII ×6
Eb Gm BbIV → vi GmVI → iVI → i ×6

The move to watch is Dm → Gm, heard 6 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. 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 Dm, land on D, F, A — 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 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

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The backbone is Dm, Gm, Cm, Eb — iii–vi–ii–IV from the Bb side, v–i–iv–VI from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Gm, the song seals Gm 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.