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)
Yıldız Tilbe - Sana Kalbim Geçti - Chord
Key Bb major – G minor Chords Dm, Eb, Cm, F, Gm Easy key C
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Key: Bb | Gm
Capo: 0
Dm Eb
Sana kalbim geçti aman
Cm F Dm
Geri versen almam, almam
Eb
Seni seçti ruhum neden
Cm F Dm
Nasıl etsem sevsen, sevsem
Dm Eb
Tüm zamanlar sende şimdi
Cm F Dm
Yanıyorum çöller gibi
Eb
Deli gönlüm sevme aman
Cm F Dm
Onun aşkı yalan, yalan
Dm Eb
Sever gider, ağlar sevdam
Cm F Dm
Yaralandın yine aman
Dm Gm
Üzülünce naparsın, naparsın
Eb F
Özleyince yanarsın, yanarsın
Dm Eb
Aşk belası sonsuz umman
Cm Dm Eb Dm
Yaralandın yine aman
Dm Eb
Seviyorsam öldüm mü aman
Cm F Dm
Kime kalmış aşkın derdi
Eb
Ağlıyorsam geçer tabi
Cm F Dm
Kalbim olmuş Leyla gibi
Dm Eb
Seni gördü iki gözüm
Cm F Dm
Nere gitsem gelir yüzün
Eb
Deli gönlüm sevme aman
Cm F Dm
Onun aşkı yalan, yalan
Dm Eb
Sever gider, ağlar sevdam
Cm F Dm
Yaralandın yine aman
Dm Gm
Üzülünce naparsın, naparsın
Eb F
Özleyince yanarsın, yanarsın
Dm Eb
Aşk belası sonsuz umman
Cm Dm Eb Dm
Yaralandın yine aman
End of song Play again?
Yıldız Tilbe - Sana Kalbim Geçti Tabs
NotesX
Harmony analysis
Yıldız Tilbe – Sana Kalbim Geçti: 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 2 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 | 12× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 24× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 16× |
| V | F | Dominant — strongest pull home | F · A · C | 12× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 2× |
| 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 | 12× |
| v | Dm | Minor dominant — soft pull | D · F · A | 24× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 16× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 12× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 66 times in total; 5 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 F Bbii → Vii → V Gmiv → VII ×10
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
The move to watch is Cm → F, heard 10 times. From the Gm side it is iv → VII; from the Bb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Eb, land on Eb, G, Bb — 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. Dm, Eb, Cm, F carry the song: iii–IV–ii–V relative to Bb, v–VI–iv–VII relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → F (ii → V in Bb, iv → VII in Gm): ii → V — the classic preparation of the dominant. Ending on Dm, 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.
Yıldız Tilbe - Sana Kalbim Geçti 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: Yıldız TilbeMusic: Yıldız Tilbe
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