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)
Mavi Solman - Deniyorum ama - Chord
Key Bb major – G minor Chords Eb, Gm, Cm, F, Bb Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Eb
Eb Gm
Bu üflediğim duman
Bb Cm
Sana veriyo’ mu haber
F
Seni veriyo’ mu bana
Eb
Annem her gün boşuna der ama
Gm
Gitmediğin zaman
Bb Cm
Senin derdin bana da dert
F
Benimkiler yeter bana
Eb
Bu gece de boşluğuma geldin
Eb Gm
Seni şeytanlardan aldım
Cm
Meleklere veriyorum
F
Kız bu gece de ölüyorum
Eb
Unutmayı deniyorum
Eb
Belki başka bedenlerde
Gm
Belki bi’ gün aynı yerde
Saçma nedenlerde saklı
Bb Cm
Kalbin bahanelerde
Aşka dönenlerden değiliz belki
F
Denesem de
Bb
Başka dönemlerdeyiz sen şimdi beklesen de
Cm
Kızım epey sabrettim bak ben de
Ama kapandı bu perde
Eb Gm
Seni şeytanlardan aldım
Cm
Meleklere veriyorum
F
Kız bu gece de ölüyorum
Eb
Unutmayı deniyorum
Eb
Anımsıyorum gözlerindeki ruhu
Uyum sağlamıyorum sade güzel bi uyku
Gm
Huyum kaybediyor olduğum her yerde korku ve
Anne diyorum bunun bir sonu yok mu
End of song Play again?
Mavi Solman - Deniyorum ama Tabs
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Harmony analysis
Mavi Solman – Deniyorum ama: key and chord analysis
The song opens on Eb 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it comes to rest on Gm and Gm is heard 6 times against 4 for Bb. 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 | 4× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 6× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 6× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 4× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 6× |
| 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 | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 10× |
| 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). 5 different chords appear 31 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
- Eb Gm BbIV → vi GmVI → iVI → i ×6
- Cm F Bbii → Vii → V Gmiv → VII ×5
- F Bb BbV → Iauthentic cadence GmVII → III ×1
The move to watch is Eb → Gm, heard 6 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
The opening Eb lays a solid floor for everything that follows. Eb, Gm, Cm, F carry the song: IV–vi–ii–V relative to Bb, VI–i–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 Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. It closes on Gm, 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.
Mavi Solman - Deniyorum ama 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: MaviMusic: Mavi
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