Sibel Can - Güzel - Chord

Key Bb major – G minor Chords Dm7, Cm7, Gm7, F Easy key C

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Capo 0

Gm7        Dm7            Gm7
Bi' sana gönülde her şey açık
          Dm7             Cm7
Kaleler yıkılmış kalpte kayıp
         F           Gm7
Süzülür içimde ince ince
       Cm7
Aşk seyirde

Gm7       Dm7           Gm7
Sarılıp dokunsan ömre bedel
           Dm7            Cm7
Karalar, bulutlar senle geçer
          F               Cm7       F
Şımarıp değişmem sana ben asla değişmem

Dm7
Hep böyle diz dize, biz bize en güzel
Cm7      Dm7    Cm7     Dm7
Hep mi güzel, güzel severiz
       F
Unutup herkesi, yok sayıp her şeyi
Cm7      Dm7    Cm7     Dm7
Hep mi güler, güler geçeriz

Gm7      Dm7            Gm7
Uzanıp dokunsam kalbe yeter
           Dm7            Cm7
Karalar, bulutlar senle biter
        F                Cm7   F
Elini bırakmam seni ben asla unutmam

End of song Play again?

Sibel Can - Güzel Tabs

NotesX

Harmony analysis

Sibel Can – Güzel: key and chord analysis

The song opens on Gm7 and ends on F. 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 7 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	10×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	11×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	—
V	F	Dominant — strongest pull home	F · A · C	6×
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	7×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	7×
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	10×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	11×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	—
VII	F	Subtonic — steps back to the tonic	F · A · C	6×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 34 times in total; 4 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

Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×5
Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×4
F Gm7 BbV → vi7deceptive cadence GmVII → i7Aeolian arrival ×1
Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×1

The move to watch is Cm7 → F, heard 5 times. From the Gm side it is iv7 → VII; from the Bb side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Gm7, land on G, Bb, D — 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 Gm7; the ear learns where home is within a second. The backbone is Dm7, Cm7, Gm7, F — iii7–ii7–vi7–V from the Bb side, v7–iv7–i7–VII from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → F (ii7 → V in Bb, iv7 → VII in Gm): ii → V — the classic preparation of the dominant. It closes on F, 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.