Toygar Işıklı - Sardunyalar - Chord

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

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Capo 0

       Dm            Eb
En son sardunyalar da soldular
         Dm        Cm
Sen orda ben burda yüreğim yanar
       Dm         Eb
Bu ayrılık değil ölüm bana
        Dm        Cm
Ne olur ağlama kıyamam sana

Gm                   Cm
Bu aşk saklı içimde, sen de gitme acılarla
  D         Gm
Olmaz böyle ayrılık niye
    Fm          Gm           Cm
O masum yüzünde sessiz çığlıklar gibi her sözün
Eb           D          Cm          Gm
Git desen de kal desen de yaş dolar gözün
    Fm          Gm         Cm
O masum teninde yorgun ellerinde hep hüzün
Eb           D           Cm          D
Sensizlikten her nefeste yaş dolar gözüm

Eb              Cm
Dokunma yaralarıma içimde çıkmaz yollara
Dm                 Cm   Dm    Eb
Yapma dudaklarınla kalbime dokunup onu acıtma
                 Cm
Vurma yaralarıma kar yağmasın baharıma
Dm                 Cm   Dm    Eb           Gm
Yapma dudaklarınla kalbime dokunup onu acıtma

End of song Play again?

Toygar Işıklı - Sardunyalar Tabs

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Harmony analysis

Toygar Işıklı – Sardunyalar: key and chord analysis

The song opens on Dm 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)
#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 comes to rest on Gm, Gm is heard 6 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.

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	11×
iii	Dm	Mediant — a tonic-family shade	D · F · A	8×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	4×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	7×
V	F	Dominant — strongest pull home	F · A · C	—
v	Fm	Chromatic colour chordoutside the key	F · Ab · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	6×
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	6×
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×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	4×
VI	Eb	Submediant — warm colour	Eb · G · Bb	7×
VII	F	Subtonic — steps back to the tonic	F · A · C	—
vii	Fm	Chromatic colour chordoutside the key	F · Ab · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 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 D is V/vi, a secondary dominant heading for Gm. Fm step outside the scale as colour chords.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×2
Cm D Bbii → V/vi Gmiv → Viv → V ×2
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×1
Eb Gm BbIV → vi GmVI → iVI → i ×1

The move to watch is Cm → Gm, heard 2 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 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.
Over Eb, land on Eb, G, Bb — 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

Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, Dm, Eb, Gm; read them as ii–iii–IV–vi in Bb or iv–v–VI–i in 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 → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. 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.