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)
Key Bb major – G minor Chords Dm, Eb, Cm, Db Easy key C
Dm Eb Dm Eb
Dm Eb
Kalbimi Verdim Ellerine
Dm
Ellerim Ellerine Rehine
Eb
Ve Beni Koydun El Yerine
Dm
Lelele Lelele
Dm Eb
Batırsan Da Bıçağını En Derine
Dm
Gülerim Yine De Direne Direne
Cm
Nasıl Geçer Bi Danışalım Bilene
Dm
Olan Oldu Artık Sakın Af Dileme
Eb
Gece Yarısı Kokumuz Karışırken
Dm
Saat Seni Ben Geçe Durmuşken
Eb
Tam Bulmuşken
Dm
İnada Bindirme
Dm
Merso Maybach Gibi Kasa Son Model Bomba
Eb
Salla Arka Tampon Çaça Rumba
Dm
Korkmam Senle Gelse Sonumda
Cm
Vallah Koşarım Hiç Yorulmam
Dm
Ah Be Güzelim
Eb
Ne Bi Haberin Geldi
Ne De Bi Selamın
Dm Eb
Yak Gel Gemileri Sahile Uzandım
Dm
Yeter Usandım
Dm Eb
Ey Delale Ne Nalet
Dm
Ediyor Adamı Divane
Eb
Sanki Bir Melake Uzun Uzun
Dm
Bakamam Gözüne
Dm Eb
Delale Be Lanet
Db
Sokuyor Adamı Tribe
Eb
Sanki Bir Kıyamet
Dm
Yakıyor Cehennem Gibi Be
Dm
Tuttum Ellerini
Eb
Öptüm Dudağını
Dm
Baktım Gözlerinden
Cm Dm
Aktı Bir Damla Yaş Aktı
Dm
Git Hadi E Git Hadii
Eb
Dön Arkanı Git Hadi
Dm
Giderken Ol Dikkatli
Cm Dm
Herkes Değil Şefkatli
Eb
Bir Bilet Bir Tarih
Db
Milano Italy
Eb
Duygular Firari
Dm
Yap Bi Tatil Sezon Finali
Dm Eb
Uyan Artık Rüyadan Ve
Dm
Bütün Hisler Palavra
Eb
Sağım Solum Tramva Hep
Dm
İçi Boş Bi Kadavra
Eb
İnatla Inatla
Dm
Arıyoruz Inatla
Eb
İnanma Inanma
Dm
Aşk Meşk Boş Laf Hep Aldırma
Dm Eb
Ey Delale Ne Nalet
Dm
Ediyor Adamı Divane
Eb
Sanki Bir Melake Uzun Uzun
Dm
Bakamam Gözüne
Dm Eb
Delale Be Lanet
Db
Sokuyor Adamı Tribe
Eb
Sanki Bir Kıyamet
Dm
Yakıyor Cehennem Gibi Be
End of song Play again?
Harmony 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.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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.
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 | 4× |
| bIII | Db | Borrowed from the parallel minorborrowed chord | Db · F · Ab | 3× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 37× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 26× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| 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 | 4× |
| #IV | Db | Chromatic colour chordoutside the key | Db · F · Ab | 3× |
| v | Dm | Minor dominant — soft pull | D · F · A | 37× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 26× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 70 times in total; 3 of them sit naturally inside the shared scale. Db is borrowed from the parallel minor, adding a darker shade to the major side.
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Empty slices are chords the song doesn't use.
The opening Dm lays a solid floor for everything that follows. Dm, Eb, Cm, Db carry the song: iii–IV–ii–bIII relative to Bb, v–VI–iv–#IV relative to Gm. Db briefly darkens the picture: borrowed from the parallel minor. 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.
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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