Ajda Pekkan - Palavra Palavra - Chord

Key Bb major – G minor Chords Gm, Cm, D7, F7, A#, B7, F, D# … Easy key G (capo 3)

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Capo 0

Gm       Cm             F7          Gm
Aynı sözler söylediğin hep boş sözler
        Cm    D7
Kolay sözler
Gm        Cm          F7            Gm
Bu hergünki sudan sözler boş vaatler
        Cm    D7
Daha neler
Gm        Cm          A#
Artık bitsin sus hiç konuşma
Cm              B7        
Anlamam kendini hiç yorma boşuna

Gm                    Cm       
Belki tatlı tatlı bu yalanlar
Gm                     Cm                  F 
Gül kokan rüzgarla nasıl geçermiş gelecek yıllar
A#                       D#
Yere iner mi gökteki yıldızlar
Cm                      
Dinleyemem bunlar hep boş laflar
              G7         D7
Aşk bitince sözler neye yarar

   Gm
Palavra palavra palavra
   Cm
Palavra palavra palavra
   F7   
Palavra palavra palavra
   F6               Gm                 Cm7 
Palavra palavra palavra palavra palavra
         D7              Gm
Hepsi palavra inanmam sana

Gm       Cm             F7         Gm
Ne romantik bu sözleri çok dinledim
        Cm    D7
Çok dinledim
Gm       Cm             F7      Gm
Hepinizde aynı taktik aynı yalan
        Cm    D7
Beğenmedim
Gm        Cm          A#
Başlayınca sen susmaz mısın
Cm              B7      
Gülüyorum haline anlamaz mısın

Gm                    Cm       
Belki tatlı tatlı bu yalanlar
Gm                     Cm                  F 
Gül kokan rüzgarla nasıl geçermiş gelecek yıllar
A#                       D#
Yere iner mi gökteki yıldızlar
Cm                      
Dinleyemem bunlar hep boş laflar
              G7         D7
Aşk bitince sözler neye yarar

   Gm
Palavra palavra palavra
   Cm
Palavra palavra palavra
   F7   
Palavra palavra palavra
   F6               Gm                 Cm7 
Palavra palavra palavra palavra palavra
         D7              Gm
Hepsi palavra inanmam sana

End of song Play again?

Ajda Pekkan - Palavra Palavra Tabs

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Harmony analysis

Ajda Pekkan – Palavra Palavra: key and chord analysis

The song opens on Gm and ends on Gm. 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)
#7 = F# (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm, Gm is heard 20 times against 4 for Bb and the major V chord points straight at 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.

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	A#	Tonic — home	A# · D · E#	4×
bII7	B7	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	B · D# · F# · A	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	20×
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V7/vi	D7	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A · C	8×
IV	D#	Subdominant — moves away from home	D# · G · A#	2×
V7	F7	Dominant — strongest pull home	F · A · C · Eb	6×
V	F	Dominant — strongest pull home	F · A · C	2×
V6	F6	Dominant — strongest pull home	F · A · C · D	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	20×
V7/ii	G7	Secondary dominant V/ii — leads to Cmsecondary dominant	G · B · D · F	2×
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	20×
V7/iv	G7	Secondary dominant V/iv — leads to Cmsecondary dominant	G · B · D · F	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	A#	Relative major — the bright side	A# · D · E#	4×
#III7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	20×
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	2×
v	Dm	Minor dominant — soft pull	D · F · A	—
V7	D7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A · C	8×
VI	D#	Submediant — warm colour	D# · G · A#	2×
VII7	F7	Subtonic — steps back to the tonic	F · A · C · Eb	6×
VII	F	Subtonic — steps back to the tonic	F · A · C	2×
VII6	F6	Subtonic — steps back to the tonic	F · A · C · D	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 11 different chords appear 70 times in total; 8 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm. G7 acts as a secondary dominant, briefly pointing at another chord of the key. B7 is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×8
Cm F7 Bbii → V7ii → V Gmiv → VII7 ×6
F7 Gm BbV7 → videceptive cadence GmVII7 → iAeolian arrival ×4
Cm D7 Bbii → V7/vi Gmiv → V7iv → V ×4
F A# BbV → Iauthentic cadence GmVII → III ×2
Cm Gm Bbii → vi Gmiv → iminor plagal ×2

The move to watch is D7 → Gm, heard 8 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). 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 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 D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
When D7 comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
On B7, follow the chord's notes (B · D# · F# · A) rather than the key's scale — it's a borrowed colour.

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
2 semitones up

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The backbone is Gm, Cm, D7, F7 — vi–ii–V7/vi–V7 from the Bb side, i–iv–V7–VII7 from the Gm side. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. It closes on Gm, letting the Gm side have the last word.

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.