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)
Ferhat Göçer - Sönmek Bilmiyor - Chord
Key Bb major – G minor Chords Gm, Gbdim, Cm, Adim, D7, Eb, F Easy key G (capo 3)
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm Gbdim Gm Gbdim Gm Adim D7 Gm
Gm Gbdim Gm Gbdim
Yangın yeri yürek, sönmek bilmiyor
Gm Adim D7 Gm
Yaktığın ateşte hercai yüzüm gülmüyor
Gbdim Gm Gbdim
Ben kimseyi sevmem artık aşkı intikamdan çaldık
Eb Adim D7 Gm
Dil bağlanır yürek söyler dinleyen olmuyor
Gm Eb Gm
İnsan bir kere ölür derler yalan
Cm Gm
Bin kez öldüm inan
Cm Gm F Gm
Bir yanımız güllük bahar bir yanımız talan
Cm Gm F Gm
Cenneti gördüm ben sende gözlerinden akan
Gm Gbdim Gm Gbdim
Yangın yeri yürek, sönmek bilmiyor
Gm Adim D7 Gm
Yaktığın ateşte hercai yüzüm gülmüyor
Gbdim Gm Gbdim
Ben kimseyi sevmem artık aşkı intikamdan çaldık
Eb Adim D7 Gm
Dil bağlanır yürek söyler dinleyen olmuyor
Gm Eb Gm
İnsan bir kere ölür derler yalan
Cm Gm
Bin kez öldüm inan
Cm Gm F Gm
Bir yanımız güllük bahar bir yanımız talan
Cm Gm F Gm
Cenneti gördüm ben sende gözlerinden akan
End of song Play again?
Ferhat Göçer - Sönmek Bilmiyor Tabs
NotesX
Harmony analysis
Ferhat Göçer – Sönmek Bilmiyor: 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 30 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 | 6× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 5× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| V | F | Dominant — strongest pull home | F · A · C | 4× |
| vii°/vi | Gbdim | Secondary leading-tone chord vii°/vi — leads to Gmsecondary dominant | Gb · A · C | 10× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 30× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | 5× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 30× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | 5× |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 6× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 5× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 4× |
| #vii° | Gbdim | Leading-tone chord (harmonic minor)harmonic minor | Gb · A · C | 10× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 64 times in total; 5 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 Gbdim / D7 is vii°/vi, a secondary dominant heading for Gm.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×6
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×5
- Adim D7 Bbvii° → V7/vi Gmii° → V7ii° → V ×5
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×4
- Eb Gm BbIV → vi GmVI → iVI → i ×2
The move to watch is Cm → Gm, heard 6 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Gbdim, land on Gb, A, C — 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.
- 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Gbdim, Cm, Adim; read them as vi–vii°/vi–ii–vii° in Bb or i–#vii°–iv–ii° in Gm. Gbdim is the interesting twist: in Bb it is a chromatic chord (vii°/vi), while in Gm it becomes the dominant (#vii°) 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. 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.
Ferhat Göçer - Sönmek Bilmiyor 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Eda Tezcan
Ferhat GöçerMusic: Ferhat GöçerArrangement: Cenk Kandıralı
Ferhat GöçerMusic: Ferhat GöçerArrangement: Cenk Kandıralı
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.