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)
Barış Manço - Müsadenizle Çocuklar - Chord
Key Bb major – G minor Chords Gm, Cm, Dm, D7, Dsus2 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm
Bir sabah baktım ne göreyim, bizim sokakta şenlik var
Dm
Büyükler kös kös otururken, adam oluvermiş çocuklar
Gm Cm
Patlamaz olmuş tüfekler, gelmiş karamürsel sepetler
Dm
Tren kalkmış gitmekte, hadi geçmiş olsun birilerine
Gm
Kınalar yakalım elimize, (kınalar yakalım elimize)
Cm
Sahip olalım dilimize, (sahip olalım dilimize)
Aman dikkat belimize, (aman dikkat belimize)
Dm D7
Şimdi müsaadenizle çocuklar, sıra bana geldi çocuklar
Dsus2
İş başa düştü çocuklar, hazır mıyız?
Gm Cm
Eh Barış abi aşk olsun, aç koynuna kuş konsun
Dm
Çek ipini rahvan gitsin, inceldiği yerden kopsun
Gm Cm
Kimileri kahve kaynatsın, kimi hala dansöz oynatsın
Dm
Leyleğin ömrü iki lak lak, değerler oldu tepetaklak
Gm
El salla el salla, (el salla el salla)
Cm
Kol salla kol salla, (kol salla kol salla)
Sağ gösterip sol salla, (sağ gösterip sol salla)
Gm
Bir omuz at sağdan solla, (bir omuz at sağdan solla)
Gm Cm
Geliyor bir ahu afet, tepeden tırnağa zerafet
Dm
Öldür bizi letafet, bizim sonumuz felaket
Gm Cm
Hayırdır inşallah kızlar, ne diyor bu uçuk çılgınlar
Dm
Hayır mı şer mi göreceğiz artık, sabrın sonu selamet
Gm
Kınalar yakalım elimize, (kınalar yakalım elimize)
Cm
Sahip olalım dilimize, (sahip olalım dilimize)
Aman dikkat belimize, (aman dikkat belimize)
Dm D7
Şimdi müsaadenizle çocuklar, sıra bana geldi çocuklar
Dsus2
İş başa düştü çocuklar, hazır mıyız?
Gm
El salla el salla, (el salla el salla)
Cm
Kol salla kol salla, (kol salla kol salla)
Sağ gösterip sol salla, (sağ gösterip sol salla)
Gm
Bir omuz at sağdan solla, (bir omuz at sağdan solla)
Gm
Jale: (Üz beni, süz beni, püre gibi ez beni)
Ajlan – Mine: (Pranga tak bana, kapı kapı gez beni)
Burak Kut: (Benimle oynama çılgınım bebeğim)
Of Aman Nalan: (Deli gibi seviyorum ölümüne sev beni)
Dandini dastana, dinolar bostana
İyi bak hastana, sor beni ustana
El salla el salla, (el salla el salla)
Tayfun: (Hadi yine iyisin e' gel hadi yanıma)
Hakan Peker: (Amma velakin kınalar yak bana)
Soner Arıca: (Ah vefasız yak beni yık beni)
Grup Vitamin: (Ellere var ama bizlere yok di mi?)
Dandini dastana, dinolar bostana
İyi bak hastana, sor beni ustana
El salla el salla, (el salla el salla)
Gm
El salla el salla, (el salla el salla)
Cm
Kol salla kol salla, (kol salla kol salla)
Sağ gösterip sol salla, (sağ gösterip sol salla)
Gm
Bir omuz at sağdan solla, (bir omuz at sağdan solla)
End of song Play again?
Barış Manço - Müsadenizle Çocuklar Tabs
NotesX
Harmony analysis
Barış Manço – Müsadenizle Çocuklar: 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.
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 both starts and finishes on Gm, Gm is heard 15 times while Bb never appears 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 11× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 8× |
| IIIsus2 | Dsus2 | Mediant — a tonic-family shade | D · E · A | 2× |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 2× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 15× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 15× |
| 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 | 11× |
| v | Dm | Minor dominant — soft pull | D · F · A | 8× |
| Vsus2 | Dsus2 | Minor dominant — soft pull | D · E · A | 2× |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 2× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 38 times in total; 4 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 D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×6
- Cm Gm Bbii → vi Gmiv → iminor plagal ×3
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 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- When D7 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
- 5 semitones down · capo 5 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 Gm, Cm, Dm, D7 — vi–ii–iii–V7/vi from the Bb side, i–iv–v–V7 from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Gm, letting the Gm 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.
Barış Manço - Müsadenizle Çocuklar 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: Barış MançoMusic: Barış MançoArrangement: Garo Mafyan
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