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)
Ceren Gündoğdu - Benim İlacım Yok - Chord
Key Bb major – G minor Chords Gm7, F, Dm7, Cm7, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm7 F Gm7 F
Gm7
Kanunların beni korumuyor
Dm7
İklimlerin canım acıtıyor
Cm7
Batan bir gemi bu
Gm7 F
Çıkmam lazım burdan
Gm7
Sırtını dönme bana sırtını
Dm7
Ah ne çok yedin benim hakkımı
Cm7 Gm7 F
Uyandım sabaha, güneş yerinde yok
Gm7
Uyku girmedi tüm gece gözüme
Dm7
Bulmak istedim uygun bir kelime
Cm7 Eb Gm7 F
Aaaaaah malesef cümlem yok
Gm7
Yollara vurup kaçmayı denedim
Dm7
Yurdum yok benim, ben senin esirin
Cm7 Eb Gm7 F
Aaaaaah benim ilacım yok
Gm7 Dm7 Cm7 Eb Gm7
End of song Play again?
Ceren Gündoğdu - Benim İlacım Yok Tabs
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Harmony analysis
Ceren Gündoğdu – Benim İlacım Yok: key and chord analysis
The song opens on Gm7 and ends on Gm7. 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: to us the song feels closer to the G minor side because it both starts and finishes on Gm and Gm is heard 12 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 5× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 5× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 3× |
| V | F | Dominant — strongest pull home | F · A · C | 6× |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 12× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 12× |
| 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 | 5× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 5× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 3× |
| 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). 5 different chords appear 31 times in total; 5 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
- F Gm7 BbV → vi7deceptive cadence GmVII → i7Aeolian arrival ×6
- Eb Gm7 BbIV → vi7 GmVI → i7VI → i ×3
- Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×2
The move to watch is F → Gm7, heard 6 times. From the Gm side it is VII → i7 (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi7 (deceptive cadence: expected Bb, lands on 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 Gm7, 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.
- Over Dm7, land on D, F, A — 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 Gm7, the song gives away its key from the very first bar. The backbone is Gm7, F, Dm7, Cm7 — vi7–V–iii7–ii7 from the Bb side, i7–VII–v7–iv7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm7 (V → vi7 in Bb, VII → i7 in Gm): Aeolian arrival — rises a whole tone into home. The final chord is Gm7; the ear comes to rest in Gm.
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.
Ceren Gündoğdu - Benim İlacım Yok 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: Ceren GündoğduMusic: Ceren Gündoğdu
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