Flört - Ayak Üstü Sohbet - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

A             Gm                                                          
Müsaadenizle, şöyle biraz,
F                     A
Ayak üstü sohbet edelim
Cm                                                                         
Ben hiç korkmam, 
F                      Gm
Korkmamayı öğretti babam,
Gm      Bb      D#
Tanışalım, ben Ozan

Cm    F    Gm

A                 Gm                   
Bir güzel sevdim, sonra kaybettim
F                      A
Kaybetmek yoktur aslında
Cm
Aşk hep vardır
F                       Gm
Tabiatın özünde saklıdır
Gm     Bb             D#
İçimizde, ağaçta, böcekte

F         Gm
Gönlümüzdeki,
F        Gm
İçimizdeki,
Cm         F             Gm
Duygulara bir şans verelim
F            Gm
Kimi sevdiysek,
F           Gm
Kimi üzdüysek,
Cm        F             Gm
Onlara bir selam verelim,

Cm    F    Gm

A              Gm
Bazı yaşamlar, hızlı yol alır,
F                     A
Akarken durmaz nehirler
Cm
Benim yaşantımda 
F                      Gm
Hız limiti çoktan aşıldı
Gm     Bb            D#
Böyle bu, istemeden oldu

F         Gm
Gönlümüzdeki,
F        Gm
İçimizdeki,
Cm         F             Gm
Duygulara bir şans verelim
F            Gm
Kimi sevdiysek,
F           Gm
Kimi üzdüysek,
Cm        F             Gm
Onlara bir selam verelim

Cm    F    Gm

End of song Play again?

Flört - Ayak Üstü Sohbet Tabs

NotesX

Harmony analysis

Flört – Ayak Üstü Sohbet: key and chord analysis

The song opens on A 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)

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 24 times against 3 for Bb. 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	3×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	10×
iii	Dm	Mediant — a tonic-family shade	D · F · A	—
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	D#	Subdominant — moves away from home	D# · G · A#	3×
V	F	Dominant — strongest pull home	F · A · C	21×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	24×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
VII	A	Chromatic colour chordoutside the key	A · C# · E	6×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	24×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
II	A	Chromatic colour chordoutside the key	A · C# · E	6×
III	Bb	Relative major — the bright side	Bb · D · F	3×
iv	Cm	Subdominant — moves away from home	C · Eb · G	10×
v	Dm	Minor dominant — soft pull	D · F · A	—
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	D#	Submediant — warm colour	D# · G · A#	3×
VII	F	Subtonic — steps back to the tonic	F · A · C	21×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 67 times in total; 5 of them sit naturally inside the shared scale. A step outside the scale as colour chords.

Chord movement

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×18
Cm F Bbii → Vii → V Gmiv → VII ×10
D# F BbIV → VIV → V GmVI → VIIVI → VII ×2

The move to watch is F → Gm, heard 18 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on 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 F, land on F, A, C — 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.

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 A, the song gives away its key from the very first bar. Gm, F, Cm, A carry the song: vi–V–ii–VII relative to Bb, i–VII–iv–II relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. Ending on Gm, the song seals Gm 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.