Sibel Can - Pes - Chord

Key Bb major – G minor Chords Gm, Cm, Dm, Eb, D7, Adim, Am, Ebmaj7 Easy key C

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Capo 0

Gm  Cm  Cm  Adim  D7  Gm

Gm
Biliyorum yorgun düştüm aşktan
Cm              Dm
Usandım inattan savaştan
Cm
Bir yanım çiçek bahar
Gm               Am
Bir yanım açar solar
       D7      Gm
İçimde gidenden kalanlar

Gm
İnanıp kışın doğan güneşe
Cm                   Dm
Kandırıp kendimi kor ateşte
Ebmaj7                 Cm
Dört yanım yangınlarla sarılmış tuzaklara
Adim     D7        Gm
Pes ettim bu zalim oyunda

Gm                   Eb
Sevdalandım aşkın vurdum dibine
     Gm                 Eb
Hırpalandım yoruldum yattım dizine
      Dm              Cm
Ben kovuldum hayattan vardım evime
Dm         Cm      Gm
Bir daha gelecek olsam bir daha pes

Gm                   Eb
Sevdalandım aşkın vurdum dibine
     Gm                 Eb
Hırpalandım yoruldum yattım dizine
      Dm              Cm
Ben kovuldum hayattan vardım evime
Dm         Cm
Bir daha gelecek olsam
        D7      Gm
Bir daha kapıyı bana açma

Gm                   Eb
Sevdalandım aşkın vurdum dibine
     Gm                 Eb
Hırpalandım yoruldum yattım dizine
      Dm              Cm
Ben kovuldum hayattan vardım evime
Dm         Cm      Gm
Bir daha gelecek olsam bir daha pes

Gm                   Eb
Sevdalandım aşkın vurdum dibine
     Gm                 Eb
Hırpalandım yoruldum yattım dizine
      Dm              Cm
Ben kovuldum hayattan vardım evime
Dm         Cm
Bir daha gelecek olsam
        D7      Gm
Bir daha kapıyı bana açma

End of song Play again?

Sibel Can - Pes Tabs

NotesX

Harmony analysis

Sibel Can – Pes: key and chord analysis

The song opens on Gm and ends on Gm. 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)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm, Gm is heard 19 times while Bb never appears and the major V chord points straight at Gm. 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	14×
iii	Dm	Mediant — a tonic-family shade	D · F · A	10×
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	5×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	8×
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	1×
V	F	Dominant — strongest pull home	F · A · C	—
vi	Gm	Relative minor — the melancholy side	G · Bb · D	19×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	2×
vii	Am	Chromatic colour chordoutside the key	A · C · E	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	19×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	2×
ii	Am	Chromatic colour chordoutside the key	A · C · E	1×
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	14×
v	Dm	Minor dominant — soft pull	D · F · A	10×
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	5×
VI	Eb	Submediant — warm colour	Eb · G · Bb	8×
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	1×
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). 8 different chords appear 60 times in total; 6 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm. Am step outside the scale as colour chords.

Chord movement

D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×5
Eb Gm BbIV → vi GmVI → iVI → i ×4
Cm Gm Bbii → vi Gmiv → iminor plagal ×3
Adim D7 Bbvii° → V7/vi Gmii° → V7ii° → V ×2
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×2

The move to watch is D7 → Gm, heard 5 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.

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 Gm, the song gives away its key from the very first bar. Gm, Cm, Dm, Eb carry the song: vi–ii–iii–IV relative to Bb, i–iv–v–VI relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals Gm 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.