Yalın - Akşamüstü - Chord

Key Bb major – G minor Chords Gm7, Cm7, Dm7, F, Ebmaj7 Easy key C

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Capo 0

Ebmaj7  Dm7  Gm7  Cm7  Dm7  Gm7

Gm7           Cm7
Yakında yağmurlar geliyor
F
Şehrime sonbahar
Gm7       Cm7
Yanında ayrılık acısı
    F
Üstüme ay doğar

Gm7               Dm7
Peşimde sana yazdığım tüm şiirler
Ebmaj7
Pazara denk geliyor iç çekişler

Cm7       Gm7      F
Söz, üzerime düşeni yaparım
Cm7    Gm7        F
Seni bulup buralardan kaçarım

       Cm7    Dm7    Gm7
Bir akşamüstü,  akşamüstü
       Cm7    Dm7    Gm7
Bir akşamüstü,  akşamüstü
x2

Gm7  Gm7  Cm7  Dm7  Gm7
x2

Gm7        Cm7
Sesinde umudum bekliyor
    F
Dudağın yaz kokar
Gm7           Cm7
Gelmezsen canımın yarısı
 F
Evim buz tutar

Gm7               Dm7
Peşimde sana yazdığım tüm şiirler
Ebmaj7
Pazara denk geliyor iç çekişler

Cm7       Gm7      F
Söz, üzerime düşeni yaparım
Cm7    Gm7        F
Seni bulup buralardan kaçarım

       Cm7    Dm7    Gm7
Bir akşamüstü,  akşamüstü
       Cm7    Dm7    Gm7
Bir akşamüstü,  akşamüstü
x2

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Yalın - Akşamüstü Tabs

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Harmony analysis

Yalın – Akşamüstü: key and chord analysis

The song opens on Ebmaj7 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 comes to rest on Gm and Gm is heard 19 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	14×
iii7	Dm7	Mediant — a tonic-family shade	D · F · A · C	9×
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	3×
V	F	Dominant — strongest pull home	F · A · C	8×
vi7	Gm7	Relative minor — the melancholy side	G · Bb · D · F	19×
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	19×
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	14×
v7	Dm7	Minor dominant — soft pull	D · F · A · C	9×
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	3×
VII	F	Subtonic — steps back to the tonic	F · A · C	8×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 53 times in total; 5 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

Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×7
F Gm7 BbV → vi7deceptive cadence GmVII → i7Aeolian arrival ×4
Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×4
Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×4

The move to watch is Dm7 → Gm7, heard 7 times. From the Gm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → 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 Gm7, land on G, Bb, D — 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 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 Ebmaj7, the song gives away its key from the very first bar. The chords that keep coming back are Gm7, Cm7, Dm7, F; read them as vi7–ii7–iii7–V in Bb or i7–iv7–v7–VII in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm7 (iii7 → vi7 in Bb, v7 → i7 in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Gm7; the ear comes to rest in Gm.

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.