Derya Uluğ - Hani - Chord

Key Bb major – G minor Chords Dm7, Cm7, Eb, Gm7 Easy key C

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Capo 0

Gm7                                 Cm7
Sana noldu sevgilim, niye böyle ah için
                                       Dm7
Ya nedir bu gözlerin, niyetin bu muydu git

Dm7  Cm7  Eb  Dm7

Dm7
Bana öfken neydi, söyle dinlerim
Cm7               Eb
İnan olmaz dersen ben de gizlerim
Dm7
Bunu sormam lazım sen ne istedin
     Cm7                     Eb
Yine var mı bir müjden ya da bittik mi zaten

Dm7                                    Cm7
Hani çok sevmiştin hani sen beni ay ay ay
                 Eb
Ne değişti söyle dünden beri
Dm7                                Cm7
Nasıl tuttun ayrı meskenleri ay ay ay
                  Eb
Sana mecburum ben dön gel geri

Dm7  Dm7  Cm7  Eb


Gm7
Bana bir şey söyle ya da hep sus böyle
Cm7                Eb
Fark yok arasında, vicdan yarasında

Dm7
Beni sandın saf ya, sana kalbim hasta
Cm7                Eb
Fark çok arasında, insaf en azından

Dm7                                    Cm7
Hani çok sevmiştin hani sen beni ay ay ay
                 Eb
Ne değişti söyle dünden beri
Dm7                                Cm7
Nasıl tuttun ayrı meskenleri ay ay ay
                  Eb
Sana mecburum ben dön gel geri

Gm7
Sana noldu sevgilim?

End of song Play again?

Derya Uluğ - Hani Tabs

NotesX

Harmony analysis

Derya Uluğ – Hani: 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.

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)

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 3 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.

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	11×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	12×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	10×
V	F	Dominant — strongest pull home	F · A · C	—
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	3×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i7	Gm7	Tonic — home	G · Bb · D · F	3×
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	11×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	12×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	10×
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 36 times in total; 4 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

Eb Gm7 BbIV → vi7 GmVI → i7VI → i ×2

The move to watch is Eb → Gm7, heard 2 times. From the Gm side it is VI → i7 (VI → i: falls a half step into home); from the Bb side it reads IV → vi7. 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 Dm7, land on D, F, A — 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.
Over Eb, land on Eb, G, Bb — 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 chords that keep coming back are Dm7, Cm7, Eb, Gm7; read them as iii7–ii7–IV–vi7 in Bb or v7–iv7–VI–i7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm7 (IV → vi7 in Bb, VI → i7 in Gm): VI → i — falls a half step into home. Ending on Gm7, 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.