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)
Yüzyüzeyken Konuşuruz - On Beş Dk - Chord
Key Bb major – G minor Chords Gm, A, C, Dm, Bb Easy key F (capo 5)
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Key: Bb | Gm
Capo: 0
Bb C Bb C Saat ikide gelirsen, işte her neysen Gm C Dm Birazcık geciksen bile Bb C Bb C O eski sen değilsen, işte her neysen Gm C Dm Farkında değilsen bile Gm Dm A Anlatmamı iste benden, anlamasan bile Gm Dm A Ben onbeş dakkaya geliyorum, sen çayı demle Gm A Gm A E sen neyi anladın da, e sen neyi anladın da Dm Gm A Bugüne kadar Gm A Gm A E sen neyi anladın da, e sen neyi anladın da Dm Gm A Bugüne kadar aaaaa
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Yüzyüzeyken Konuşuruz - On Beş Dk Tabs
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Harmony analysis
Yüzyüzeyken Konuşuruz – On Beş Dk: key and chord analysis
The song opens on Bb and ends on A. 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 because it opens on Bb and Gm is heard 10 times against 4 for Bb. 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 | 4× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| II | C | Chromatic colour chordoutside the key | C · E · G | 6× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 6× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| V/iii | A | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| V/v | A | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E | 8× |
| III | Bb | Relative major — the bright side | Bb · D · F | 4× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 6× |
| v | Dm | Minor dominant — soft pull | D · F · A | 6× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| 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). 5 different chords appear 34 times in total; 3 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×3
The move to watch is Dm → Gm, heard 3 times. From the Bb side it reads iii → vi; from the Gm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Bb lays a solid floor for everything that follows. The backbone is Gm, A, C, Dm — vi–V/iii–II–iii from the Bb side, i–V/v–IV–v from the Gm side. A adds a moment of surprise: secondary dominant V/iii — leads to Dm. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on A, 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.
Yüzyüzeyken Konuşuruz - On Beş Dk 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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