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)
Karma - İhtimal - Chord
Key Bb major – G minor Chords Dm7, Gm7, Cm7, Eb, C7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm7 Dm7 Cm7
Gm7
Sana çıkar yollarım da
Dm7
Sensin tüm duraklarım bak
Cm7
Bir uyusam kollarında
Dm7
Dolar kalbim huzurla
Gm7 Dm7
Öptüğünde şu dudaklarımdanYine ağzım kulaklarımda
Cm7
Ne gereği uzatmanın da
Eb
Aşk en büyüğü kul haklarından
Gm7
Akşam güneşi ve kumsal
Dm7
Bütün anılarımız kutsal
Cm7
Her şey anlamsız yoksan
Eb
Ben o gözlerine tutsak
Gm7
Denedim bütün ihtimalleri
Dm7
Değiştin ben de normalleri
Cm7
Karışık sensiz ruh hallerim
Eb
Bu kuytudan hadi gel çıkar beni
x2
Gm7
Beni beni beni beni
Dm7 C7
Beni beni beni bir tek sen anlarsın
Eb
Beni tamamlarsın
Gm7
Seni görünce dopamin tavan
Dm7
Kalbim tutuşuyor like saman
Cm7
Her gün farklı farklı heyecan
Eb
Varım her şeye senle her zaman
Gm7 Dm7 Cm7
Ooooo oooo oooooo aşk her derde çare
Eb
Bu en büyük işaret
Gm7 Dm7 Cm7
Ooooo oooo oooooo baştan olduk avare
Eb
Yoksan edemem idare
Gm7
Denedim bütün ihtimalleri
Dm7
Değiştin ben de normalleri
Cm7
Karışık sensiz ruh hallerim
Eb
Bu kuytudan hadi gel çıkar beni
x2
Gm7
Beni beni beni beni
Dm7 C7
Beni beni beni bir tek sen anlarsın
Eb
Beni tamamlarsın
x2
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Karma - İhtimal Tabs
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Harmony analysis
Karma – İhtimal: key and chord analysis
The song opens on Gm7 and ends on Eb. 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 G minor side because it opens on Gm and Gm is heard 11 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 9× |
| II7 | C7 | Chromatic colour chordoutside the key | C · E · G · Bb | 2× |
| 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 | 9× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi7 | Gm7 | Relative minor — the melancholy side | G · Bb · D · F | 11× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Gm7 | Tonic — home | G · Bb · D · F | 11× |
| 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 | 9× |
| IV7 | C7 | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G · Bb | 2× |
| 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 | 9× |
| 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 43 times in total; 4 of them sit naturally inside the shared scale. C7 step outside the scale as colour chords.
Chord movement
- Eb Gm7 BbIV → vi7 GmVI → i7VI → i ×8
- Cm7 Gm7 Bbii7 → vi7 Gmiv7 → i7minor plagal ×1
- Dm7 Gm7 Bbiii7 → vi7 Gmv7 → i7natural-minor cadence ×1
The move to watch is Eb → Gm7, heard 8 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 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.
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
The first chord is Gm7; the ear learns where home is within a second. The chords that keep coming back are Dm7, Gm7, Cm7, Eb; read them as iii7–vi7–ii7–IV in Bb or v7–i7–iv7–VI 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 Eb, 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.
Karma - İhtimal 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: Sheyh ReeMusic: Sheyh ReeArrangement: Esad Fidan
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