Reynmen - Çatma Yarim - Chord

Key Bb major – G minor Chords Dm, Gm, F, Eb Easy key C

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Capo 0

Dm
Akıyor su gibi zaman, geri gelmiyor
Gm           F          Eb          Dm
Neden hep en güzel günlerimiz geçmişteler
Gm          F           Eb              Dm
Dereden çok sular aktı, gelmez bir daha giden

Dm
Ah o yarin gülüşü varya düşman çatlatıyor
Gm        F             Eb        Dm
Memleketin dört yanında senin gibisi yok
Gm          F               Eb             Dm
Bakışlarına kış gelmiş gibi bakma, gönlüm üşüyor

Gm          F          Eb        Dm
Çatma yarim kaşlarını, içim elvermiyor
Gm         F          Eb         Dm
Sakla hadi gözyaşını, düşman seviniyor
Gm           F         Eb            Dm
Tek seferlik dünya bu, bir daha gelinmiyor
Gm        F        Eb           Dm
Üç günlük ömürede, dert tasa sığmıyor

Gm                     F
Gülüyor bir de ateş ediyor gibi
        Eb               Dm
Dayanamıyorum ah içim eriyor
    Gm                 F
Havalar bile nasıl değişir
                Eb              Dm
Nasılda cilveli saçlarını savuruyor

Gm          F          Eb        Dm
Çatma yarim kaşlarını, içim elvermiyor
Gm         F          Eb         Dm
Sakla hadi gözyaşını, düşman seviniyor
Gm           F         Eb            Dm
Tek seferlik dünya bu, bir daha gelinmiyor
Gm        F        Eb           Dm
Üç günlük ömürede, dert tasa sığmıyor

End of song Play again?

Reynmen - Çatma Yarim Tabs

NotesX

Harmony analysis

Reynmen – Çatma Yarim: key and chord analysis

The song opens on Dm and ends on Dm. 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 Gm is heard 14 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	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
iii	Dm	Mediant — a tonic-family shade	D · F · A	16×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	14×
V	F	Dominant — strongest pull home	F · A · C	14×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	14×
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	14×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
v	Dm	Minor dominant — soft pull	D · F · A	16×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	14×
VII	F	Subtonic — steps back to the tonic	F · A · C	14×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 58 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

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×14

The move to watch is Dm → Gm, heard 14 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — 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 Dm, the song gives away its key from the very first bar. Dm, Gm, F, Eb carry the song: iii–vi–V–IV relative to Bb, v–i–VII–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm, 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.