Nilüfer - Git İşine (Aldanırım Sanma) - Chord

Key Bb major – G minor Chords Bb, Eb, F, Dm, Cm Easy key G (capo 3)

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Capo 0

Bb
Git git işine, yüzüne bakmam düşme peşime
       Eb            Bb
Nasıl inandım bir kere kandım
     F              Bb 
Aldanırım sanma iki kere

Bb
Ah ölmeli miyim, sana sonunda dönmeli miyim
       Eb         Bb
Sözümü tuttum seni unuttum
       F               Bb
Geriye dönmem ben deli miyim

Eb      Dm     Cm      Bb
Gel demiyorum ben bile bile
Eb        Dm         Cm         F
Kal demiyorum haydi sana güle güle

Bb
Git git işine, yüzüne bakmam düşme peşime
       Eb            Bb
Nasıl inandım bir kere kandım
     F              Bb 
Aldanırım sanma iki kere

Eb      Dm    Cm       Bb
Gel demiyorum ben bile bile
Eb        Dm         Cm          F
Kal demiyorum haydi sana güle güle

End of song Play again?

Nilüfer - Git İşine (Aldanırım Sanma) Tabs

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Harmony analysis

Nilüfer – Git İşine (Aldanırım Sanma): key and chord analysis

The song opens on Bb and ends on F. 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 Bb major side because it opens on Bb and Bb is heard 11 times while Gm never appears. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	11×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	4×
iii	Dm	Mediant — a tonic-family shade	D · F · A	4×
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	7×
V	F	Dominant — strongest pull home	F · A · C	5×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	—
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	11×
iv	Cm	Subdominant — moves away from home	C · Eb · G	4×
v	Dm	Minor dominant — soft pull	D · F · A	4×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	7×
VII	F	Subtonic — steps back to the tonic	F · A · C	5×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 31 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

F Bb BbV → Iauthentic cadence GmVII → III ×4
Eb Bb BbIV → Iplagal cadence GmVI → III ×3
Cm F Bbii → Vii → V Gmiv → VII ×2

The move to watch is F → Bb, heard 4 times. From the Bb side it reads V → I (authentic cadence: the strongest arrival home); from the Gm side it is VII → III. 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 Bb, land on Bb, D, F — 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.
Over F, land on F, A, C — 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

3 semitones down · capo 3 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Bb lays a solid floor for everything that follows. Bb, Eb, F, Dm carry the song: I–IV–V–iii relative to Bb, III–VI–VII–v relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. The final chord is F; 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.