Berkay - Sonunda - Chord

Key Bb major – G minor Chords Dm7, Ebmaj7, Cm7, Gm, F Easy key C

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Capo 0

Gm      F        Ebmaj7       Dm7      Cm7           Dm7
Bilmedi ki seven hiç aşk ne kadar eder savaşta ya da yasta
Gm       F        Ebmaj7      Dm7     Cm7             Dm7
Sar da sarıl bana son bir kez anla kalbim hasta, sana hasta

Ebmaj7  Dm7  Ebmaj7  Dm7      Ebmaj7  Dm7        Cm7
Mahvediiyor, kahrediiyor, seni affediyor her sorunda
Ebmaj7   Dm7  Ebmaj7    Dm7    Ebmaj7   Dm7        Cm7
Sabrediiiyor, hep ah ediyor, yine affediyor seni sonunda

Ebmaj7
Yine gece çöktü tepemde, çürüyorum ben bu bedende
Dm7
O da seviyor dedim her gün, sen öyle bir şey demesende
Ebmaj7
Yalnızım yine yatağımda, tutmuyor elim ayağımda
Dm7
Ne yapsam daha da gömüldüm, kalbim bir aşk batağında

End of song Play again?

Berkay - Sonunda Tabs

NotesX

Harmony analysis

Berkay – Sonunda: key and chord analysis

The song opens on Gm and ends on Dm7. 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)

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 and Gm is heard 2 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	4×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	12×
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	10×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	2×
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	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	4×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	12×
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	10×
VII	F	Subtonic — steps back to the tonic	F · A · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 30 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

Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×1

The move to watch is Dm7 → Gm, heard once. From the Gm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → 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 Dm7, land on D, F, A — 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 Cm7, 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

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. Dm7, Ebmaj7, Cm7, Gm carry the song: iii7–IVmaj7–ii7–vi relative to Bb, v7–VImaj7–iv7–i relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm (iii7 → vi in Bb, v7 → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm7, letting the Bb 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.