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)
Derin Esmer - Kopma - Chord
Key Bb major – G minor Chords Gm, F, C, Eb, Bb Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Gm F F
Gm F
Kış renkleri artıyor etrafında
Gm F
Dünden kalan yükler artıyor aklında
Gm F
Samimiyetsiz uğraşlar çoğaldıkça
Gm F
Kalbinin sesi soğuk duş etkisinde
Eb F Gm
Uğursuz nefesler tam ensende hissediliyor
Eb F Gm
Tutarsız sözcükler aklını karıştırıyor
Eb C
Yorgunluğundan söz açmayı unuttum
Bb C
Çünkü hiç gerek yok tüm bunlara
Gm C
Hayattan kopmazsan
Gm C
Yolundan şaşmazsan
Gm C
İnandığından bıkmazsan
Gm F Gm F
Zaman yüzüne güler
Gm F
Şehrin ışıkları karartıyor yıldızları
Gm F
Şaşaalı aydınlıklar yitiriyor heyecanını
Gm F
Akılsız yalanlar bile sana artık dokunmuyor
Gm F
Magazine ve şiddete aç gözler hiç doymuyor
Eb F Gm
Uğursuz nefesler tam ensende hissediliyor
Eb F Gm
Tutarsız sözcükler aklını karıştırıyor
Eb C
Yorgunluğundan söz açmayı unuttum
Bb C
Çünkü hiç gerek yok tüm bunlara
Gm C
Hayattan kopmazsan
Gm C
Yolundan şaşmazsan
Gm C
İnandığından bıkmazsan
Gm
Zaman yüzüne güler
End of song Play again?
Derin Esmer - Kopma Tabs
NotesX
Harmony analysis
Derin Esmer – Kopma: 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)
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 and Gm is heard 23 times against 2 for Bb. 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 | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| V/V | C | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 10× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 6× |
| V | F | Dominant — strongest pull home | F · A · C | 16× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 23× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 23× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 10× |
| 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 | 6× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 16× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 57 times in total; 4 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×13
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×4
The move to watch is F → Gm, heard 13 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 Gm, 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 C, land on C, E, 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, F, C, Eb — vi–V–V/V–IV from the Bb side, i–VII–IV–VI from the Gm side. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. 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.
Derin Esmer - Kopma 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: Derin EsmerMusic: Derin Esmer
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