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)
Gülden Mutlu - Bu Saatten Sonra - Chord
Key Bb major – G minor Chords Gm7, Ebmaj7, Cm7, Dm7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm7 Cm7
Dökülsün gözlerimden kaldıysa yaşım
Ebmaj7 Gm7 Dm7
Aklımı başıma alalı çok oldu
Gm7 Cm7
Seni yazsın tarih, benim yok bi savaşım
Ebmaj7 Gm7
Sen bizden geçeli ne kadar zaman oldu
Ebmaj7
Kalbim kırık ama sorun değil
Cm7
Aşka küstüm o da mühim değil
Ebmaj7
Şu dünyada bi sana
Dm7 Cm7 Dm7 Ebmaj7
Hem de yana yana, her ney se
Gm7
Bu saatten sonra adını anmam
Dert olur mu bu sana hiç sanmam
Cm7
Sığamadın aşka benim gibi seveni
Ebmaj7 Dm7
Görmedin diye mi
Gm7
Alıştığın yol puslu ve kirli
Yaramadı tabi bu tertemiz sevgi
Cm7
Daha önce böyle ölümüne ölümüne
Ebmaj7 Dm7
Sevilmedin diye mi
Gm7 Cm7
Seni yazsın tarih, benim yok bi savaşım
Ebmaj7 Gm7
Sen bizden geçeli ne kadar zaman oldu
End of song Play again?
Gülden Mutlu - Bu Saatten Sonra Tabs
NotesX
Harmony analysis
Gülden Mutlu – Bu Saatten Sonra: key and chord analysis
The song opens on Gm7 and ends on Gm7. 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 8 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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 7× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 5× |
| 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 | — |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 8× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 8× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 7× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 5× |
| 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). 4 different chords appear 28 times in total; 4 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 Gm7 BbIVmaj7 → vi7 GmVImaj7 → i7VI → i ×4
- Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×3
The move to watch is Ebmaj7 → Gm7, heard 4 times. From the Gm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the Bb side it reads IVmaj7 → vi7. 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 Gm7, land on G, Bb, D — 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 Gm7 lays a solid floor for everything that follows. The chords that keep coming back are Gm7, Ebmaj7, Cm7, Dm7; read them as vi7–IVmaj7–ii7–iii7 in Bb or i7–VImaj7–iv7–v7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Gm7 (IVmaj7 → vi7 in Bb, VImaj7 → i7 in Gm): VI → i — falls a half step into home. It closes on Gm7, 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.
Gülden Mutlu - Bu Saatten Sonra 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: Gülden MutluMusic: Gülden MutluArrangement: Çağrı Telkıvıran
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