Derya Uluğ - Yürek mi Yedin - Chord

Key Gb major – Eb minor Chords Bbm7, Abm7, Ebm7, Bmaj7, D#m7, Db Easy key C (capo 6)

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Capo 0

Bbm7  Abm7

Bbm7 
Bünye alıştı bir kere
  Abm7
Ayrılığa tepki vermiyor
Bmaj7
Göz kurudu bütün hislere
         Bbm7
Bu sefer ıslanmam diyor

D#m7 
Akıl varda yarıyor ne işe
   Bmaj7       Abm7
Kalbe söz geçmiyor
Db
İkisi bir arada olmaz işte
    Bbm7
Aşk müsaade etmiyor

Abm7
Sendeki cesaret nerden geliyor
Bbm7       Bmaj7    Abm7  Bbm7    
Anla artık aşk geri gelmiyor

Ebm7
Yürek mi yedin
           Abm7             Bbm7
Yeniden sevmeye kalktın birini
Ebm7
Hiç ders almadın mı dünden
Abm7            Bbm7
Hak ettin üzülmeyi

Ebm7  Abm7  Bbm7  Ebm7  Abm7  Bbm7

End of song Play again?

Derya Uluğ - Yürek mi Yedin Tabs

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Harmony analysis

Derya Uluğ – Yürek mi Yedin: key and chord analysis

The song opens on Bbm7 and ends on Bbm7. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F (leading tone, pulls home)
4 = Cb (the note that leans on the 3rd)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because Ebm is heard 5 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii7	Abm7	Supertonic — prepares the dominant	Ab · Cb · Eb · Gb	9×
iii7	Bbm7	Mediant — a tonic-family shade	Bb · Db · F · Ab	10×
V/vi	Bb	Secondary dominant V/vi — leads to D#msecondary dominant	Bb · D · F	—
IVmaj7	Bmaj7	Subdominant — moves away from home	B · D# · F# · A#	3×
V	Db	Dominant — strongest pull home	Db · F · Ab	1×
vi7	Ebm7	Relative minor — the melancholy side	Eb · Gb · Bb · Db	4×
vi7	D#m7	Relative minor — the melancholy side	D# · F# · A# · C#	1×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i7	Ebm7	Tonic — home	Eb · Gb · Bb · Db	4×
i7	D#m7	Tonic — home	D# · F# · A# · C#	1×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv7	Abm7	Subdominant — moves away from home	Ab · Cb · Eb · Gb	9×
v7	Bbm7	Minor dominant — soft pull	Bb · Db · F · Ab	10×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VImaj7	Bmaj7	Submediant — warm colour	B · D# · F# · A#	3×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	1×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 28 times in total; 6 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

Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×4
Bbm7 D#m7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×1
Abm7 Db Gbii7 → Vii → V Ebmiv7 → VII ×1

The move to watch is Bbm7 → Ebm7, heard 4 times. From the Ebm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Abm7, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
Over Ebm7, land on Eb, Gb, 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 Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Bbm7 lays a solid floor for everything that follows. The chords that keep coming back are Bbm7, Abm7, Ebm7, Bmaj7; read them as iii7–ii7–vi7–IVmaj7 in Gb or v7–iv7–i7–VImaj7 in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Ebm7 (iii7 → vi7 in Gb, v7 → i7 in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm7; the ear comes to rest in Gb.

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.