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)
Ebru Gündeş - Cennet - Chord
Key Bb major – G minor Chords Dm, Gm, Cm, Ebmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Dm Dm Gm Dm Dm Hani fani bu hayat ümit bağlayamam Olmadı diye oturup ağlayamam Gm Dm Gönlü geniş olan sükutu öğrensin Dm Sevgimi yok yere ele bağlayamam Gelir mi diye hayallere sığınamam Gm Dm Kemale eren kendinden versin Gm Sevdim, kaç kere bilemem Dm Yaşadım, yok inkar edemem Cm Dm Bıktım, senle baş edemem ben Ebmaj7 Zaman öyle de geçiyor Dm Hayat böyle de bitiyor Cm Dm Ama umudum cennetten Dm Ben dalkavuk olanı hizaya getiremem Sorma bana ben görünmezi göremem Gm Dm Merak eden kendine yönelsin Dm Boş yere kimseyi oyalayıp üzemem Geçici şeylere heves edip üzülemem Gm Dm Fikrim, hevesimi alt etsin Gm Bildim lakin söylemem Dm Gördüm ama izah edemem Cm Dm Dünya, senle baş edemem ben Ebmaj7 Zaman öyle de geçecek Dm Hayat böyle de bitecek Cm Dm E bitsin, umudum cennetten Gm Dm Cm Dm Ebmaj7 Dm Cm Dm Dm Ben gözü görmeyene resim gösteremem Değerimi bilmeze değeri öğretemem Gm Dm O önce, e haddini öğrensin Dm Biten sevgiye imrenip özenemem Boş sözü duyup düstur edinemem Gm Dm Eden, kendine ah etsin Gm Sevdim, kaç kere bilemem Dm Yaşadım, yok inkar edemem Cm Dm Bıktım, senle baş edemem ben Ebmaj7 Zaman öyle de geçiyor Dm Hayat böyle de bitiyor Cm Dm Ama umudum cennetten
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Ebru Gündeş - Cennet Tabs
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Harmony analysis
Ebru Gündeş – Cennet: key and chord analysis
The song opens on Dm and ends on Dm. 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 Gm is heard 11 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 31× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 4× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 11× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 11× |
| 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 | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | 31× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 54 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
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×11
The move to watch is Dm → Gm, heard 11 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → 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 Dm, land on D, F, A — 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 Cm, land on C, Eb, G — 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 Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Gm, Cm, Ebmaj7; read them as iii–vi–ii–IVmaj7 in Bb or v–i–iv–VImaj7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm, letting the Bb 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.
Ebru Gündeş - Cennet 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: Ahmet EnesMusic: Ahmet Enes
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