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)
Sema Birbilen - Gözlerin Hala Benim mi - Chord
Key Bb major – G minor Chords Dm7, Cm7, Ebmaj7, Bbmaj7, Gm Easy key C
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Key: Bb | Gm
Capo: 0
Dm7 Ebmaj7 Bbmaj7 Cm7 Dm7
Dm7 Cm7 Dm7
Sen içimdeki ayyaş ruhum
Bbmaj7 Cm7 Dm7
Sen sarsıntısııııııııı kalbimin
Gm Ebmaj7
Ah sen ağlayan çocuk sesi
Dm7 Cm7 Dm7
Haykıran aşk müjdesi, nerdesin
Gm Ebmaj7
Ağlayan çocuk sesi
Dm7
Haykıran aşk müjdesi
Ebmaj7 Cm7 Dm7
Yarınımın habercisi, nerdesin
Dm7
Çok zaman geçti aradan
Ebmaj7 Cm7 Bbmaj7
Yolumu kaybettim seni bulamadım
Dm7
Üç tarafı dar sokaktan
Ebmaj7 Cm7 Dm7
Çok geçtim ama seni soramadım
Dm7
Gözlerin hala benim mi
Ebmaj7
Söyle kimseyi sevmedin mi
Bbmaj7 Cm7 Dm7
Ben seni bulamadım
Dm7
Yüreğin kitli kalbimde
Ebmaj7
Giden yarim şimdi nerde
Bbmaj7 Cm7 Dm7
Ben seni soramadım
End of song Play again?
Sema Birbilen - Gözlerin Hala Benim mi Tabs
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Harmony analysis
Sema Birbilen – Gözlerin Hala Benim mi: key and chord analysis
The song opens on Dm7 and ends on Dm7. 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 Bb major side because Bb is heard 5 times against 2 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | 5× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 9× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 16× |
| 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 | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 2× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 5× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 9× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 16× |
| 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 40 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 Bbmaj7 BbIVmaj7 → Imaj7plagal cadence GmVImaj7 → IIImaj7 ×3
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×2
The move to watch is Ebmaj7 → Bbmaj7, heard 3 times. From the Bb side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Gm side it is VImaj7 → IIImaj7. 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 Cm7, land on C, Eb, G — 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.
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 Dm7 lays a solid floor for everything that follows. Dm7, Cm7, Ebmaj7, Bbmaj7 carry the song: iii7–ii7–IVmaj7–Imaj7 relative to Bb, v7–iv7–VImaj7–IIImaj7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → Bbmaj7 (IVmaj7 → Imaj7 in Bb, VImaj7 → IIImaj7 in Gm): plagal cadence — the soft 'amen' ending. Ending on Dm7, the song seals Bb 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.
Sema Birbilen - Gözlerin Hala Benim mi 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: Sema BirbilenMusic: Sema BirbilenArrangement: Sema Birbilen
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