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)
Mavi Gri - Bedel - Chord
Key Bb major – G minor Chords Dm7, Ebmaj7, Cm7 Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7 Dm7 Cm7 Dm7
Ebmaj7
Başını koyucan yastığın olucam
Dm7
Adımı sayıklarken
Cm7
Düşlere dalıcan ben seni tutucam
Dm7
Yanı başımdayken
Ebmaj7
Gözlerin olucam her yere dolucam
Dm7
Beni sarabilirsen
Cm7
Karanlığına güneşin gibi doğucam
Dm7
Bir de gülümsersen
Ebmaj7 Dm7
Ebmaj7 Dm7
Taştan bir kalbin var buzdan da bi’ beden
Cm7 Dm7
İstemem ödedim vallahi billahi bedel
Ebmaj7 Dm7
Caydım illaki çok severdim özümden
Cm7 Dm7
Dönmem öldür Allah artık ben sözümden
Ebmaj7
Ben acımla mahvolurken
Dm7
Güldü geçti kendisi
Cm7
Üzüldüğümle kaldım öyle
Dm7
Ve ben bunu hak etmedim
Ebmaj7
Neden bu dünya
Dm7
Hep bi derde mahkum acılar ülkesi
Cm7
Masal gibiydi sandım önce
Dm7
İyi tanıyamadan herkesi
Ebmaj7 Dm7
Taştan bir kalbin var buzdan da bi’ beden
Cm7 Dm7
İstemem ödedim vallahi billahi bedel
Ebmaj7 Dm7
Caydım illaki çok severdim özümden
Cm7 Dm7
Dönmem öldür Allah artık ben sözümden
Dünya niye böyle kederli
Mahkum acılar ülkesi
Herkesi iyi sandım önce
Bunu böyle hayal etmedim
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Mavi Gri - Bedel Tabs
NotesX
Harmony analysis
Mavi Gri – Bedel: key and chord analysis
The song opens on Ebmaj7 and ends on Dm7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G 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 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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 9× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 19× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 10× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| 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 | 9× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 19× |
| 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 | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 38 times in total; 3 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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
Starting on Ebmaj7, the song gives away its key from the very first bar. Dm7, Ebmaj7, Cm7 carry the song: iii7–IVmaj7–ii7 relative to Bb, v7–VImaj7–iv7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Dm7, the song seals Bb as home.
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.
Mavi Gri - Bedel 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: Akif AlkanMusic: Akif Alkan, Engincan OnarArrangement: Engincan Onar
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