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)
Fettah Can - Ödeştik - Chord
Key Bb major – G minor Chords Dm7, Cm7, Gm, Ebadd9, Bb, Ebmaj7, Fadd9, Bbmaj7 Easy key C
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Key: Bb | Gm
Capo: 0
Cm7 Dm7 Kabule der gibi bakma Cm7 Dm7 Belki değişirsin umuduyla Cm7 Dm7 Ebadd9 Cm7 Dm7 Ayrılalım dedim sen bana bakma Cm7 Dm7 Bir hayatım hiçe sayma Cm7 Dm7 Belki bu sonbaharda Cm7 Dm7 Girer her şey yoluna Ebadd9 Cm7 Dm7 Sen bana bakma Bb Dm7 Cm7 Dm7 Sen hala aynısın yaşananlar hep aynı Ebmaj7 Dm7 Cm7 Dm7 Gel gör ki beceremedim yalvarmayı yakarmayı Bb Dm7 Cm7 Dm7 Sen hala aynısın yaşananlar hep aynı Ebmaj7 Dm7 Cm7 Dm7 Gel gör ki beceremedim yalvarmayı yakarmayı Gm Cm7 Biz seninle ne yollardan geçtik Fadd9 Bbmaj7 Gm Sonra onlardan vazgeçtik Gm Cm7 Sen başlattın ben bitirdim Fadd9 Cm7 Dm7 Sanırım şimdi ödeştik Dm7 Cm7 Sanırım şimdi
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Fettah Can - Ödeştik Tabs
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Harmony analysis
Fettah Can – Ödeştik: key and chord analysis
The song opens on Cm7 and ends on Cm7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
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 | 2× |
| Imaj7 | Bbmaj7 | Tonic — home | Bb · D · F · A | 1× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 16× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 18× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Ebadd9 | Subdominant — moves away from home | Eb · G · Bb · F | 2× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 2× |
| V | Fadd9 | Dominant — strongest pull home | F · A · C · G | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| IIImaj7 | Bbmaj7 | Relative major — the bright side | Bb · D · F · A | 1× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 16× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 18× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Ebadd9 | Submediant — warm colour | Eb · G · Bb · F | 2× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 2× |
| VII | Fadd9 | Subtonic — steps back to the tonic | F · A · C · G | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 46 times in total; 8 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
- Cm7 Fadd9 Bbii7 → Vii → V Gmiv7 → VII ×2
- Fadd9 Bbmaj7 BbV → Imaj7authentic cadence GmVII → IIImaj7 ×1
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×1
The move to watch is Cm7 → Fadd9, heard 2 times. From the Bb side it reads ii7 → V (ii → V: the classic preparation of the dominant); from the Gm side it is iv7 → VII. 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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
Starting on Cm7, the song gives away its key from the very first bar. The chords that keep coming back are Dm7, Cm7, Gm, Ebadd9; read them as iii7–ii7–vi–IV in Bb or v7–iv7–i–VI in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fadd9 (ii7 → V in Bb, iv7 → VII in Gm): ii → V — the classic preparation of the dominant. It closes on Cm7, letting the Bb 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.
Fettah Can - Ödeştik 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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