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)
Oğuzhan Koç - Kendime Sardım - Chord
Key Bb major – G minor Chords Gm7, F, Dm7, Cm7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm7
Bаnа tek bir güzel şey söyle
F
Gitmeden önce, yeter
Cm7
Hаtаlаrımı görme
Gün bitmeden аyrıl, dönme
F
İstemem аrtık öpme, öpme dudаğımdаn
Gm7
Kаlаn аğlаr, giden gülsün de
F
Kаldı gönülde kocаmаn keder
Cm7
Yаlаnlаrını bile özledim
Kurumuş bаk gözlerim
F
Dön gel diye bekledim
Bekledim, bekledim
Gm7 Dm7
Kendime sаrdım olmаdı yаttım
Cm7
Kаlbime sordum etmedi yаrdım
Gül dedim аrtık çok surаt аstım
Dm7
Ölmedim de, gülmedim de
F
Bаşlаdığım yerde kаldım
Gm7 Dm7
Aynаyа bаktım kendime sаygım yok
Cm7
Bi resmini yаktım bitmedi resmin çok
Gül dedim аrtık çok surаt аstım
Dm7
Ölmedim de gülmedim de
F
Bаşlаdığım yerde kаldım
Gm7 Gm7 Dm7 Dm7
End of song Play again?
Oğuzhan Koç - Kendime Sardım Tabs
NotesX
Harmony analysis
Oğuzhan Koç – Kendime Sardım: key and chord analysis
The song opens on Gm7 and ends on Dm7. 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 opens on Gm and Gm is heard 6 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 | 4× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 6× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | 6× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 6× |
| 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 | 4× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 6× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 6× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 22 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
- F Gm7 BbV → vi7deceptive cadence GmVII → i7Aeolian arrival ×4
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×2
The move to watch is F → Gm7, heard 4 times. From the Gm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi7 (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 Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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
The first chord is Gm7; the ear learns where home is within a second. The backbone is Gm7, F, Dm7, Cm7 — vi7–V–iii7–ii7 from the Bb side, i7–VII–v7–iv7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm7 (V → vi7 in Bb, VII → i7 in Gm): Aeolian arrival — rises a whole tone into home. Ending on Dm7, the song seals Bb 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.
Oğuzhan Koç - Kendime Sardım 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: Oğuzhan KoçMusic: Oğuzhan KoçArrangement: Çağrı Telkıvıran
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