İrem Derici - Bir miyiz - Chord

Key Eb major – C minor Chords Gm, Cm, Dm, D, D#, Dm7, Gm7, F7 Easy key F

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm
Olmuyor

Bu sabah güneş bile tuhaf
Cm
Doğmuyor       

Kafam hayli karışık
D                            Gm
Gözlerim aynada beni bile görmüyor

Bil ki zorluyor
                              Cm
Bu kadar belirsizlik bizi zorluyor
D 
Ben aşkı hapsettim
                           Gm
Ama artık kilit sende durmuyor

Gm
Gel yapma dedim bak böyle
D#
Ne olur iki kelam da sen söyle
Dm        Cm                Gm                         
Durumumuz belirsiz, çaba sarf edelim
Gm
Yaşanılanlar hep aynı
D#
Hepimizde o tuhaf kaygı
   Dm          Cm        Gm
Bakarsın toparlarız, devam edelim

Cm
Dinletemedim, dinletemedim
   Dm
Kelimeler tükendi.
  Cm
Söyletemedim, söyletemedim
D
Şimdi senle ben

Gm                                   
Bir miyiz senle, yoksa hiç miyiz?        
        Dm                        
Gözüme baka baka umutlar
        Dm           Dm7
Yüzüme baka baka yalanlar
Cm
Dağılmıyor işte, o kara bulutlar
Gm7           F7         Gm
Kader miyiz söyle, yoksa biter miyiz?

End of song Play again?

İrem Derici - Bir miyiz Tabs

NotesX

Harmony analysis

İrem Derici – Bir miyiz: key and chord analysis

The song opens on Gm and ends on Gm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 7 times against 2 for Eb. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	D#	Tonic — home	D# · G · A#	2×
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
II7	F7	Chromatic colour chordoutside the key	F · A · C · Eb	1×
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	9×
iii7	Gm7	Mediant — a tonic-family shade	G · Bb · D · F	1×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	—
V	Bb	Dominant — strongest pull home	Bb · D · F	—
vi	Cm	Relative minor — the melancholy side	C · Eb · G	7×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—
vii	Dm	Chromatic colour chordoutside the key	D · F · A	5×
V/iii	D	Secondary dominant V/iii — leads to Gmsecondary dominant	D · F# · A	3×
vii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	1×

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	7×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
ii	Dm	Chromatic colour chordoutside the key	D · F · A	5×
V/v	D	Secondary dominant V/v — leads to Gmsecondary dominant	D · F# · A	3×
ii7	Dm7	Chromatic colour chordoutside the key	D · F · A · C	1×
III	D#	Relative major — the bright side	D# · G · A#	2×
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
IV7	F7	Major IV — Dorian / melodic-minor colourmodal colour	F · A · C · Eb	1×
v	Gm	Minor dominant — soft pull	G · Bb · D	9×
v7	Gm7	Minor dominant — soft pull	G · Bb · D · F	1×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	—
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	—

Analysis

The key pair is Eb major and its relative C minor (3 flats). 8 different chords appear 29 times in total; 4 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gm Cm Ebiii → vi Cmv → inatural-minor cadence ×3

The move to watch is Gm → Cm, heard 3 times. From the Cm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Eb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Dm, 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. The backbone is Gm, Cm, Dm, D — iii–vi–vii–V/iii from the Eb side, v–i–ii–V/v from the Cm side. D adds a moment of surprise: secondary dominant V/iii — leads to Gm. Keep an ear on Gm → Cm (iii → vi in Eb, v → i in Cm): natural-minor cadence — gentle, modal arrival. The final chord is Gm; the ear comes to rest in Eb.

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.