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)
Yasemin Göksu - Hançerin Sapı (Hilmi Yarayıcı) - Chord
Key Bb major – G minor Chords Gm, D7, Eb, Cm, Bb, Adim, F Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Cm D7 Gm Bb Cm D7 Gm
Gm Cm
Haksızlık etme diyorum kendi kendime
D7 Bb Adim
Kılavuzun oldu rüzgâr su gibi dostun
Gm Cm
Eğer dumanlıysa kavruk dağlar
D7 Eb D7 Gm
Bil ki gülün ahı, hançerin sapı var
Gm Bb Cm F
Ben seni yalansız bahar gibi sevdim
Bb Eb
Sevgi adınaydı milis beraberliğimiz
Adim D7
Sabahtan akşama günü tarar, örerdik
Eb D7 Gm
Ve kedileri ikimiz de severdik
Gm Cm F
Senin ağzın tarçın kokardı, benim karanfil
Bb Eb
Birbirine karışırdı soluklarımız
Adim Eb
Tek başınayız şimdi şimdi ikimiz
D7 Gm
Bende karanfil sende tarçın kokusu kimsesiz
Gm Cm F Bb Eb Adim D7 Eb Gm
Gm Cm
Kulağım uğulduyor, yapı eğiliyor
D7 Bb Adim
Çinko damlar daraltıyor gökyüzünü
Gm Cm
Alaca bir bulut geliyor üstüme
D7 Eb D7 Gm
Yuvarlana yuvarlana kurşundan köpekler
Gm Bb Cm F
Ben seni yalansız bahar gibi sevdim
Bb Eb
Sevgi adınaydı milis beraberliğimiz
Adim D7
Sabahtan akşama günü tarar, örerdik
Eb D7 Gm
Ve kedileri ikimiz de severdik
Gm Cm F
Senin ağzın tarçın kokardı, benim karanfil
Bb Eb
Birbirine karışırdı soluklarımız
Adim Eb
Tek başınayız şimdi şimdi ikimiz
D7 Gm
Bende karanfil sende tarçın kokusu kimsesiz
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Yasemin Göksu - Hançerin Sapı (Hilmi Yarayıcı) Tabs
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Harmony analysis
Yasemin Göksu – Hançerin Sapı (Hilmi Yarayıcı): 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)
- #7 = F# (harmonic-minor leading tone from the V chord)
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, Gm is heard 19 times against 10 for Bb and the major V chord points straight at Gm. 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 | 10× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 11× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 15× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 12× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 19× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | 7× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 19× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | 7× |
| III | Bb | Relative major — the bright side | Bb · D · F | 10× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 11× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 15× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 12× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 79 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×8
- Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×6
- F Bb BbV → Iauthentic cadence GmVII → III ×5
- Cm F Bbii → Vii → V Gmiv → VII ×5
- Adim D7 Bbvii° → V7/vi Gmii° → V7ii° → V ×3
- Eb Gm BbIV → vi GmVI → iVI → i ×1
The move to watch is D7 → Gm, heard 8 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to 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 D7, 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.
- When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
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
Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, D7, Eb, Cm — vi–V7/vi–IV–ii from the Bb side, i–V7–VI–iv from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals Gm 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.
Yasemin Göksu - Hançerin Sapı (Hilmi Yarayıcı) 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: Metin Altıok
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