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)
Key Bb major – G minor Chords Gm, Bb, Eb, Dm Easy key C
Gm Bb
Ah bu ben ben miyim
Eb Dm
Bu yeni biri deli gibi
Gm
Akıl yolu bir ileri
Bb Eb Dm
İki geri tanıyamıyorum ki kendimi
Gm Bb
Peki ya söyle sen hala sen misin
Eb Dm
Yoksa serüveni görüverip
Gm Bb Eb Dm
Çözülesi soruları öpülesi yerlerinden öptün mü
Gm Bb
Uykuda mısın yoksa uyanık mı
Eb Dm
Berrak mısın değilse bulanık mı
Gm Bb
Bir dev misin ya da ufacık mı
Eb Dm
Parlak mısın söyle bulaşık mı
Gm Bb
Sert bir gaz mısın acı bir fren mi
Eb Dm
Alın teri misin kolay gelen mi
Gm Bb
Kendine hiç savaşlar açtın mı
Eb Dm
Ben açamadıydım hep kaçtıydım
Gm Bb
Kaçtığım her şey beni buldu
Eb Dm
En beklemediğim de gelip vurdu
Gm Bb
Efendi ruhumsa deli dumrul
Eb Dm
Kim bu ben bu kim
Gm Bb
Ah bu ben ben miyim
Eb Dm
Bu yeni biri deli gibi
Gm
Akıl yolu bir ileri
Bb Eb Dm
İki geri tanıyamıyorum ki kendimi
Gm Bb
Peki ya söyle sen hala sen misin
Eb Dm
Yoksa serüveni görüverip
Gm Bb Eb Dm
Çözülesi soruları öpülesi yerlerinden öptün mü
Gm Bb Eb Dm
Arada frene bas yanmasın balatan
Gm Bb Eb Dm
Çelebi atlamasa da dururdu galata
Gm Bb
Rasyonel cümleler gülmeden
Eb Dm
Küsmesen bir görsen ölmeden
Gm Bb Eb Dm
Parayı kovalayan dehşet saçacak
Gm Bb Eb Dm
Önce kendine savaşlar açacan
Gm Bb Eb Dm
Paslanır ruhunu kaybeden
Gm Bb Eb Dm
Ürkerek küfreder yükselen
Gm Bb Eb Dm
End of song Play again?
Harmony analysis
The song opens on Gm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on 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.
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 | 22× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 22× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 22× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 22× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 22× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 22× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | 22× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 22× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 88 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.
The move to watch is Dm → Gm, heard 21 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, Bb, Eb, Dm — vi–I–IV–iii from the Bb side, i–III–VI–v from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Dm, 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.
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.
Ready-made lists by difficulty and mood.
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