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)
Sena Şener - Her An Gidebilirim - Chord
Key Bb major – G minor Chords F, Gm, Eb, Cm, Bb, Dm, Am, D … Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Yalnız doğdum
F
Yalnız öldüm
Gm
Yanlış bir yer
F
Yanlış bir gün
Eb Dm
Bekledim herkesi
Cm Bb A
Kimse beni beklemedi
Gm
Yanlış doğdum
F
Yanlış öldüm
Gm
Yalnız bir yer
F
Yalnız bir gün
Eb Dm
Umudum kırıldı
Cm Bb Am
Kimse beni beklemedi
Gm
Gözlerim yaşlanır
F Bb D
Sen yine de gitme
Gm
Sözlerin taşlanır
F
Sen yine de söyle
Eb Dm
Ellerin göğsümde
Cm Bb Am
Yak beni yakabildiğin yere
D
Ama ben
Gm
Her an gidebilirim
F Eb
Beni anlasana
F Gm
Her an gidebilirim
F Eb
Beni bıraksana
Cm
Her şeyi unutup
Bb
Hiç düşünmeden
F
Sessizce
Cm Gm
Her an gidebilirim
Gm
Sessiz doğdum
F
Sessiz öldüm
Gm
Yorgun bir kalp
F
Yorgun ömrüm
Eb Dm
Dinledim herkesi
Cm Bb Am
Kimse beni dinlemedi
Gm
Kendim doğdum
F
Kendim öldüm
Gm
Yalnız bir yer
F
Yalnız bir gün
Eb Dm
Umudum kırıldı
Cm Bb Am
Kimse beni beklemedi
Gm
Gözlerim yaşlanır
F Bb D
Sen yine de gitme
Gm
Sözlerin taşlanır
F
Sen yine de söyle
Eb Dm
Ellerin göğsümde
Cm Bb Am
Yak beni yakabildiğin yere
D
Ama ben
Gm
Her an gidebilirim
F Eb
Beni anlasana
F Gm
Her an gidebilirim
F Eb
Beni bıraksana
Cm
Her şeyi unutup
Bb
Hiç düşünmeden
F
Sessizce
Cm Gm
Her an gidebilirim
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Sena Şener - Her An Gidebilirim Tabs
NotesX
Harmony analysis
Sena Şener – Her An Gidebilirim: 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 18 times against 10 for Bb 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 | 10× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 10× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 6× |
| 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 | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 20× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 18× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 5× |
| V/iii | A | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 18× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 5× |
| V/v | A | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | 10× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 10× |
| v | Dm | Minor dominant — soft pull | D · F · A | 6× |
| 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 | 10× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 20× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 9 different chords appear 84 times in total; 6 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. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×6
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×4
- F Bb BbV → Iauthentic cadence GmVII → III ×2
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
The move to watch is F → Gm, heard 6 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 F, land on F, A, C — 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 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 Gm, the song gives away its key from the very first bar. The chords that keep coming back are F, Gm, Eb, Cm; read them as V–vi–IV–ii in Bb or VII–i–VI–iv 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 F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone 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.
Sena Şener - Her An Gidebilirim 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: Sena ŞenerMusic: Sena ŞenerArrangement: Sena Şener
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