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)
Sevgim Yılmaz - Bile Bile Yandı Yüreğim (Noyan Aksoy) - Chord
Key Bb major – G minor Chords Dm7, Ebmaj7, Cm7, Gm, Bbmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Dm7 Cm7 Bbmaj7
Gm Cm7
Kaç kere sustum aşkı güz yapanlara
Dm7 Ebmaj7
Varamadım sual edip derdi soranlara
Gm Cm7
Bin dert yükledim aşikar duvarlara
Dm7 Ebmaj7
Ağlayamadım sevdayı oyun sananlara
Ebmaj7 Dm7
Nefesimde yaşattım ismini inadına
Ebmaj7 Dm7
Hissetmeden yalandan haykıranlara
Ebmaj7 Dm7
Rengini göremedim son bakışlarda
Ebmaj7 Dm7
Kokuna sarıldı gitti şimdi rüzgarlarda
Ebmaj7 Dm7
Bile bile yandı yüreğim yana yana söndü yüreğim
Cm7 Bbmaj7
Benim sonum senle bilirim unutamadım seni
Ebmaj7 Dm7
Bile bile yandı yüreğim yana yana söndü yüreğim
Cm7 Bbmaj7
Benim sonum senle bilirim unutamadım seni
End of song Play again?
Sevgim Yılmaz - Bile Bile Yandı Yüreğim (Noyan Aksoy) Tabs
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Harmony analysis
Sevgim Yılmaz – Bile Bile Yandı Yüreğim (Noyan Aksoy): key and chord analysis
The song opens on Gm and ends on Bbmaj7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it comes to rest on Bb and it opens on Gm. Try reading the chords both ways and see which feels more like home to you.
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 |
|---|---|---|---|---|
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 3× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 5× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 9× |
| 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 | 8× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 3× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 5× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 9× |
| 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 | 8× |
| 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). 5 different chords appear 28 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
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×1
The move to watch is Ebmaj7 → Gm, heard once. From the Bb side it reads IVmaj7 → vi; from the Gm side it is VImaj7 → i (VI → i: falls a half step into home). 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Cm7, 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 opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Dm7, Ebmaj7, Cm7, Gm; read them as iii7–IVmaj7–ii7–vi in Bb or v7–VImaj7–iv7–i in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Gm (IVmaj7 → vi in Bb, VImaj7 → i in Gm): VI → i — falls a half step into home. It closes on Bbmaj7, 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.
Sevgim Yılmaz - Bile Bile Yandı Yüreğim (Noyan Aksoy) 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: Gökhan TürkmenMusic: Gökhan Türkmen
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