Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Bengü Beker - Yağmur Olsam - Chord
Key F major – D minor Chords Bbmaj7, C, Am, Gm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bbmaj7 C Am Bbmaj7
Bbmaj7 C Am
Yağmur olsam ellerindee
Bbmaj7
Vursa sonra bi' yel yel yel yel
C Am
Mektubundum, açmadın kii
Bbmaj7
Vakti bul da bi' gel gel gel gel
Bbmaj7 C
Sana bir sır verdim orda
Am
Sen hâlâ duyma
Bbmaj7
Aşksa tabun, yıkmalı
Bbmaj7 C
Her şey çok eski ve benzer
Am
Hep aynı yüzler
Bbmaj7
Bu çemberi kırmalı
Bbmaj7 C
Bana yine zorlu bir müşterek
Am Bbmaj7
Yeter acı artık gülüş gerek
Gm C
Alışarak ve ödeşerek
Am Bbmaj7
Katlanıyorsun aynı neştere
Bbmaj7 C
Bana yine zorlu bir müşterek
Am Bbmaj7
Yeter acı artık gülüş gerek
Gm C
Alışarak ve ödeşerek
Am Bbmaj7
Katlanıyormuş insan demek
Bbmaj7 C Am
Hep mi vurguun, çok sevincee?
Bbmaj7
Hep mi gurbet bu yer, yer yer yer?
C Am
Geçtim burdaan daha öncee
Bbmaj7
Kalbim artık bi' yol ver, ver ver ver
Bbmaj7 C
Bana yine zorlu bir müşterek
Am Bbmaj7
Yeter acı artık gülüş gerek
Gm C
Alışarak ve ödeşerek
Am Bbmaj7
Katlanıyormuş insan demek
End of song Play again?
Bengü Beker - Yağmur Olsam Tabs
NotesX
Harmony analysis
Bengü Beker – Yağmur Olsam: key and chord analysis
The song opens on Bbmaj7 and ends on Bbmaj7. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; 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 | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 3× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 13× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 21× |
| V | C | Dominant — strongest pull home | C · E · G | 13× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 3× |
| v | Am | Minor dominant — soft pull | A · C · E | 13× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 21× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 13× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 50 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
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×10
- Gm C Fii → Vii → V Dmiv → VII ×3
The move to watch is Bbmaj7 → C, heard 10 times. From the F side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Dm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Bbmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Bbmaj7, C, Am, Gm; read them as IVmaj7–V–iii–ii in F or VImaj7–VII–v–iv in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → C (IVmaj7 → V in F, VImaj7 → VII in Dm): IV → V — the lift that builds tension before home. It closes on Bbmaj7, letting the F 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.
Bengü Beker - Yağmur Olsam 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: Mabel MatizMusic: Mabel Matiz
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