Hadise - Feryat - Chord

Key Bb major – G minor Chords Gm, Ebmaj7, Cm, Bbmaj7, Dm7, D7, Dm Easy key C

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Capo 0

Gm  Gm  Ebmaj7  Ebmaj7

Gm
Kaç iskele gördüm

Gemilerle geri döndüm
    Ebmaj7
Bir sonrakine ömrüm

Yetmez belki de ölürüm
      Cm
Bu mu aşkın yeni sürümü
                    Gm
Kalp yerden yere sürünür

Sen gel bu sefer

Gm
Yalnız kendime güvenim

Tek dostum gölgelerim
    Ebmaj7
Çek vur hadi bende seni
                       Cm
Tek kurşun bile yetecek
              Gm
Sen öl bu sefeer

Gm
Çok mu zor çok mu imkansız
Ebmaj7
Sen de yan benle vicdansız
Cm                 Bbmaj7
İnsan aşksız olmaz aşk insansız
Dm7             D7
Mutluluk yok feryat isyansız

Gm
Bi kere bile sormadan beni kalbine koy
Ebmaj7
Ya da gecelere sor sonra gelip bana anlat
Cm
Yarımsa tamamla, bağırsam da duymazsın
Dm
Sen şeytana uyma
             Gm
Bir tek beni anla

Bi kere bile sormadan beni kalbine koy 
Ya da gecelere sor sonra gelip bana anlat 
Yarımsa tamamla 
Bağırsam da duymazsın 
Sen şeytana uyma
Bir tek beni anla

Gm
Çok mu zor çok mu imkansız
Ebmaj7
Sen de yan benle vicdansız
Cm                 Bbmaj7
İnsan aşksız olmaz aşk insansız
Dm7             D7
Mutluluk yok feryat isyansız

End of song Play again?

Hadise - Feryat Tabs

NotesX

Harmony analysis

Hadise – Feryat: key and chord analysis

The song opens on Gm and ends on D7. 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 opens on Gm, Gm is heard 10 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
Imaj7	Bbmaj7	Tonic — home	Bb · D · F · A	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	5×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	1×
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	2×
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	7×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	10×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	10×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
IIImaj7	Bbmaj7	Relative major — the bright side	Bb · D · F · A	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	5×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	2×
v	Dm	Minor dominant — soft pull	D · F · A	1×
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	2×
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	7×
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). 7 different chords appear 29 times in total; 6 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 D7 is V7/vi, a secondary dominant heading for Gm.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×2
D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×1
Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×1
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1

The move to watch is Cm → Gm, heard 2 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 Ebmaj7, land on Eb, G, Bb — 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 D7 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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The chords that keep coming back are Gm, Ebmaj7, Cm, Bbmaj7; read them as vi–IVmaj7–ii–Imaj7 in Bb or i–VImaj7–iv–IIImaj7 in Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) 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. The final chord is D7; the ear comes to rest in Bb.

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.