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)
Dolu Kadehi Ters Tut - Korkmuyorum - Chord
Key Bb major – G minor Chords Eb, F, Gm, Cm, Gb Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm F Eb Gm F Eb Gm F Eb İnanıyorum hala Gm F Eb Direniyorum aşkla Gm F Eb Cm Kazanılan her bir damla kanla, bizimdir Gm F Eb Gözü boyayan öfke Gm F Eb Verilen her kavga Gm F Eb Çalınan her bir hayatsa savaşla, sizindir Gm F Eb Korkmuyorum artık yalnız ölmekten Gm F Eb Anlayan genç gözler gördüm her renkten Gm F Eb Korkmuyorum artık hissiz olmaktan Gm F Eb Hisseden insanlar tanıdım her yaştan Gm F Eb Gm F Eb Gm F Eb Yine başımı birden döndüren Gm F Eb Bana kafayı bir daha yaktıran Gm F Eb Damarımda filtresiz akan bu kan, benim mi? Gm F Eb Ne düşüme, ne düşmeme gülmeyen Gm F Eb Ne içime, ne içmeme sığmayan Gm F Eb Ruhuma özgürlük katan bu can, benim mi? Gm F Eb Korkmuyorum artık yalnız ölmekten Gm F Eb Anlayan genç gözler gördüm her renkten Gm F Eb Korkmuyorum artık hissiz olmaktan Gm F Eb Hisseden insanlar tanıdım her yaştan Eb F Eb Gm F İnanıyorum hala Eb Gm F Eb Gb F Eb Gm Direniyorum aşkla İnanıyorum hala, direniyorum
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Dolu Kadehi Ters Tut - Korkmuyorum Tabs
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Harmony analysis
Dolu Kadehi Ters Tut – Korkmuyorum: 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.
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 27 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · 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 | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 29× |
| V | F | Dominant — strongest pull home | F · A · C | 28× |
| bVI | Gb | Borrowed from the parallel minorborrowed chord | Gb · Bb · Db | 1× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 27× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 27× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · 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 | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 29× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 28× |
| #VII | Gb | Chromatic colour chordoutside the key | Gb · Bb · Db | 1× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 86 times in total; 4 of them sit naturally inside the shared scale. Gb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Eb Gm BbIV → vi GmVI → iVI → i ×25
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1
The move to watch is Eb → Gm, heard 25 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 F, land on F, A, C — 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.
- On Gb, follow the chord's notes (Gb · Bb · Db) rather than the key's scale — it's a borrowed colour.
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
Starting on Gm, the song gives away its key from the very first bar. The backbone is Eb, F, Gm, Cm — IV–V–vi–ii from the Bb side, VI–VII–i–iv from the Gm side. Gb briefly darkens the picture: borrowed from the parallel minor. 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.
Dolu Kadehi Ters Tut - Korkmuyorum 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: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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