Dolu Kadehi Ters Tut - Nereye Kadar - Chord

Key Bb major – G minor Chords D, Ebmaj7, Cm7, Cm Easy key C

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Capo 0

D  Ebmaj7  D  Cm7
x2

D      
Zor, sonu gelmiyor derdimin
Ebmaj7
Yok huzur bana, kapadım o defteri
D                               Cm7
İçi acı dolu gülemiyor gözlerim of

Gülemiyor gözlerim

D
Bu yaralar sandığından derin
Ebmaj7
Kapanmıyor gittiğinden beri
D                               Cm7
Bi’ yolu varsa da bana söyleyin of, of

D
Düşüyor aklıma her gece
Ebmaj7
Çöküyor karanlığı üstüme
D                            Cm
Uyanamam ben olmadığın bi’ güne

         D   Ebmaj7
Nereye kadaaaaar
         D   Cm7
Nereye kadaaaaar
             D    Ebmaj7
Bi’ yolu bulunuur muu
        D    Cm7
Bizi unutuuursaam

D  Ebmaj7  D  Cm7
x2

D
Daralıyor içim, hem de ne biçim,
EbEbmaj7
Sensizliği öğrenemezmişim
D                        Cm7
Gittiğinde de susmak yerine
 
Kal demeliymişim

D
Duyman için, görmen için
Ebmaj7
Ne yapayım söyle dönmen için
D                         Cm7
Alışamadım ben bu sessizliğe

D
Düşüyor aklıma her gece
Ebmaj7
Çöküyor karanlığı üstüme
D                            Cm
Uyanamam ben olmadığın bi’ güne

         D   Ebmaj7
Nereye kadaaaaar
         D   Cm7
Nereye kadaaaaar
             D    Ebmaj7
Bi’ yolu bulunuur muu
        D    Cm7
Bizi unutuuursaam

End of song Play again?

Dolu Kadehi Ters Tut - Nereye Kadar Tabs

NotesX

Harmony analysis

Dolu Kadehi Ters Tut – Nereye Kadar: key and chord analysis

The song opens on D and ends on Cm7. 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 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	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	10×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
III	D	Chromatic colour chordoutside the key	D · F# · A	24×
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	11×
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	—

Seen from G minor
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	10×
iv	Cm	Subdominant — moves away from home	C · Eb · G	2×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	24×
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	11×
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). 4 different chords appear 47 times in total; 3 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.

Chord movement

Cm7 D Bbii7 → III Gmiv7 → Viv → V ×9
Cm D Bbii → III Gmiv → Viv → V ×2

The move to watch is Cm7 → D, heard 9 times. From the Gm side it is iv7 → V (iv → V: the minor side's tension builder); from the Bb side it reads ii7 → III. 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 D, 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.
When D 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

The first chord is D; the ear learns where home is within a second. The backbone is D, Ebmaj7, Cm7, Cm — III–IVmaj7–ii7–ii from the Bb side, V–VImaj7–iv7–iv from the Gm side. D is the interesting twist: in Bb it is a chromatic chord (III), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm7 → D (ii7 → III in Bb, iv7 → V in Gm): iv → V — the minor side's tension builder. It closes on Cm7, 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.