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)
Cansu Eylül Taş - Birileri Kandırmış - Chord
Key Bb major – G minor Chords Ebmaj7, F, Dm7, Bbmaj7, Cm7, Gm, Dm, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Dm7 Ebmaj7 F Bbmaj7 Ebmaj7 Cm7 Ebmaj7 F Bbmaj7 x2 Dm7 Gm Aldı başını gidiyor Ebmaj7 F Yar beni terk ediyor Bbmaj7 Cm7 Aşkımız bir hiç uğruna F Ebmaj7 Bbmaj7 Bitiyor bitiiiiiyor bitiyor Ebmaj7 F Dm7 Bitiyor bitiiiiiyor bitiyor Bbmaj7 Cm7 Topladı herşeyini Ebmaj7 Dm7 Gitme dedim dinlemedi F Ebmaj7 Suçumu söylemeden F Ebmaj7 Dm7 Yüzüme bakmadan gitti Dm Eb F Gm Birileri kandırmış Ebmaj7 Dm7 Girmişlerdir kanına Bbmaj7 Cm7 Yoksa çekip gitmezdi Ebmaj7 F Dm7 Bırakmazdı tek başıma Dm Eb F Gm Birileri kandırmış Ebmaj7 Dm7 Girmişlerdir kanına Bbmaj7 Cm7 Yoksa çekip gitmezdi Ebmaj7 F Dm7 Bırakmazdı tek başıma
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Cansu Eylül Taş - Birileri Kandırmış Tabs
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Harmony analysis
Cansu Eylül Taş – Birileri Kandırmış: key and chord analysis
The song opens on Dm7 and ends on Dm7. 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 Bb major side because Bb is heard 7 times against 3 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 7× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 5× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 9× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 2× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 13× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 2× |
| V | F | Dominant — strongest pull home | F · A · C | 11× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 7× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 5× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 9× |
| v | Dm | Minor dominant — soft pull | D · F · A | 2× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 13× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 2× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 11× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 52 times in total; 8 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
- Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×7
- F Bbmaj7 BbV → Imaj7authentic cadence GmVII → IIImaj7 ×3
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
- Ebmaj7 Bbmaj7 BbIVmaj7 → Imaj7plagal cadence GmVImaj7 → IIImaj7 ×1
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×1
The move to watch is Ebmaj7 → F, heard 7 times. From the Bb side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Gm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Ebmaj7, land on Eb, G, Bb — 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 Dm7, the song gives away its key from the very first bar. The backbone is Ebmaj7, F, Dm7, Bbmaj7 — IVmaj7–V–iii7–Imaj7 from the Bb side, VImaj7–VII–v7–IIImaj7 from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebmaj7 → F (IVmaj7 → V in Bb, VImaj7 → VII in Gm): IV → V — the lift that builds tension before home. The final chord is Dm7; the ear comes to rest in Bb.
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.
Cansu Eylül Taş - Birileri Kandırmış 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: Yunus BülbülMusic: Yunus BülbülArrangement: Cüneyt Yalmaz
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