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)
Murat Dalkılıç - Kim Kafa Tutabilmiş Aşka - Chord
Key Bb major – G minor Chords Cm, F7 Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Cm Cm F7 F7
Cm
Seviyorsan söyle bence
F7
Yüzüne yüzüne, baka baka gözüne
Cm
Resimlerine değil ama
F7
Bu defa kendisine
Cm
Daha ne kadar atacak kalbin
F7
İçine içine, çeke çeke içine
Cm
Açıl artık en azından
F7
Bi şansını dene
Cm F7
Yalnızsın sanma
İnan herkes aynı durumda
Cm F7
Onlardan oolma
Cm
Gelme oyuna
Cm
Bu nasıl hikaye, bu nasıl hayat
F7
Yarısı ezber yarısı arak
Cm
Kim kafa tutabilmiş aşka
F7 Cm
Olursa olur, olmazsa bırak
Cm
Bu nasıl hikaye, bu nasıl hayat
F7
Yarısı ezber yarısı arak
Cm
Kim kafa tutabilmiş aşka
F7 Cm
Olursa olur, olmazsa bırak
End of song Play again?
Murat Dalkılıç - Kim Kafa Tutabilmiş Aşka Tabs
NotesX
Harmony analysis
Murat Dalkılıç – Kim Kafa Tutabilmiş Aşka: key and chord analysis
The song opens on Cm and ends on Cm. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
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 | 15× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V7 | F7 | Dominant — strongest pull home | F · A · C · Eb | 12× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| 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 | 15× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII7 | F7 | Subtonic — steps back to the tonic | F · A · C · Eb | 12× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 2 different chords appear 27 times in total; 2 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
- Cm F7 Bbii → V7ii → V Gmiv → VII7 ×11
The move to watch is Cm → F7, heard 11 times. From the Bb side it reads ii → V7 (ii → V: the classic preparation of the dominant); from the Gm side it is iv → VII7. 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 F7, land on F, A, C — 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
The first chord is Cm; the ear learns where home is within a second. The backbone is Cm, F7 — ii–V7 from the Bb side, iv–VII7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → F7 (ii → V7 in Bb, iv → VII7 in Gm): ii → V — the classic preparation of the dominant. The final chord is Cm; the ear comes to rest in Bb.
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.
Murat Dalkılıç - Kim Kafa Tutabilmiş Aşka 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: Ersay Üner Music: Ersay Üner Arrangement: Öğünç Başara
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.