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)
Zeynep Bastık - Elimde Değil - Chord
Key Bb major – G minor Chords Gm, Cm7, Dm7, Ebmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Gm Cm7 Cm7 Dm7 Gm Gözlerin sözlerinden baska şeyler söylüyor Cm7 Git artık gideceksen bu aşk burada biter Dm7 Ebmaj7 Sonu yoktu diyenler şimdi haklı çıktılar Gm Bizi çekemeyenler şimdi mutlu oldular Dm7 Ebmaj7 Sıkıldı ruhum haykırmak istiyorum Gm Ne olursa olsun sevgilim kalacaksın Cm7 Elimde değil hala seviyorum Gm Elimde değil unutamıyorum Cm7 Elimde değil hala seviyorum Gm Elimde değil unutamıyorum Dm7 Ebmaj7 Daraldı içim haykırmak istiyorum Gm Ne olursa olsun sevgilim kalacaksın Gm Gm Cm7 Cm7 Dm7 Gm Aklım ermıyor affet nasıl bir hikaye bu Cm7 Daha dun sevgiliydık bugün iki yabancı Dm7 Ebmaj7 Sonu yoktu diyenler haklı mı çıkacaktı Gm Bizi çekemeyenler, yoksa dostlar mı yaktı Dm7 Ebmaj7 Sıkıldı ruhum haykırmak istiyorum Gm Ne olursa olsun ah gönlümde kalacaksın Cm7 Elimde değil hala seviyorum Gm Elimde değil unutamıyorum Cm7 Elimde değil hala seviyorum Gm Elimde değil unutamıyorum Dm7 Ebmaj7 Daraldı içim haykırmak istiyorum Gm Ne olursa olsun sevgilim kalacaksın
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Zeynep Bastık - Elimde Değil Tabs
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Harmony analysis
Zeynep Bastık – Elimde Değil: 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)
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 10× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 8× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 6× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| 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 | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 10× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 8× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 6× |
| 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). 4 different chords appear 40 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
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×6
- Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×4
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×2
The move to watch is Ebmaj7 → Gm, heard 6 times. From the Gm side it is VImaj7 → i (VI → i: falls a half step into home); from the Bb side it reads IVmaj7 → 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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
Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, Cm7, Dm7, Ebmaj7 — vi–ii7–iii7–IVmaj7 from the Bb side, i–iv7–v7–VImaj7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Gm (IVmaj7 → vi in Bb, VImaj7 → i in Gm): VI → i — falls a half step into home. The final chord is Gm; the ear comes to rest in Gm.
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.
Zeynep Bastık - Elimde Değil 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: Rafet El RomanMusic: Rafet El Roman
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