Eski Bando - Gül Diyorlar - Chord

Key Bb major – G minor Chords Gm, D, Cm, Bb, F, C, Adim Easy key C

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Capo 0

Gm  D  F  Gm  Bb  C  D  Gm

Gm                                 D
Yalnızlık, imkansızlık benim derdimdir
                                     Gm
Peki bu dertler bana neden miras gibidir
                                     D
Kötü insanlar sana çok fazla şey öğretir
                          Gm
Peki neden gülmeden önce üzülmem gerekir

Gm                                 Cm
Boş ver, laf anlamaz bir dünya burası
                               Gm 
Bu kadar üzer mi hiç insan insanı
                                   Cm
Görebilirsin bak sen de kaldır kafanı
                            Gm
Seviyorsan bence hiç susmamalı

Gm  D  Bb  Adim

Gm    D       Cm   Gm
Gül diyorlar, ağlatıyorlar
      D       Cm   Gm
Gül diyorlar ama üzüyorlar
      D       Cm   Gm
Sev diyorlar, aldatıyorlar
      D       Cm   Gm
Sev diyorlar ama gidiyorlar

Gm                                   D
Biraz olsun gördüm, insanlar hep eğridir
                                 Gm
Bir bakmışsın yarın toprak içindedir
                                      D
Bu dünyadan adalet çoktan kaçıp gitmiştir
                                  Gm
Eğer öyle olmasa herkes dans edebilir

Gm                               Cm
Boş ver vefasız bir dünyadır burası 
                            Gm 
Zamanla unutur mu insan insanı 
                                   Cm
Uçabilirsin bak sen de kaldır kolları 
                                Gm
Seviyorsan bence bas bas bağırmalı 

Gm    D       Cm   Gm
Gül diyorlar, ağlatıyorlar
      D       Cm   Gm
Gül diyorlar ama üzüyorlar
      D       Cm   Gm
Sev diyorlar, aldatıyorlar
      D       Cm   Gm
Sev diyorlar ama gidiyorlar

End of song Play again?

Eski Bando - Gül Diyorlar Tabs

NotesX

Harmony analysis

Eski Bando – Gül Diyorlar: 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.

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)

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 26 times against 2 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	12×
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	1×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	15×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	1×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	26×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	26×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	1×
III	Bb	Relative major — the bright side	Bb · D · F	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	12×
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	1×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	15×
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	1×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 58 times in total; 5 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 D is V/vi, a secondary dominant heading for Gm. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×12
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×5
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1

The move to watch is Cm → Gm, heard 12 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. 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 D, land on D, F#, A — 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.
When D 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. Gm, D, Cm, Bb carry the song: vi–V/vi–ii–I relative to Bb, i–V–iv–III relative to Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. 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.