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)
YirmiYedi - Papatya (Okan Şarlı) - Chord
Key Bb major – G minor Chords Gm, Cm7, Eb, D, G, Ab, Fm7 Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
G
Papatya...
Gm Cm7 Eb D
G
Bir gün açtin, bin gün oldu
Hiç koklayamadim
Bir günahti, bin gün baktim
Dokunmaya kiyamadim
Ab Fm7
Papatya
Gm
Ah teker teker
Cm7
Koparip attim tüm yapraklarini
Eb
Tek tesellim
D
Son yaprakta seviyor kaldi
Gm Cm7 Eb D
G
Geçtiğim ayaz yollarinda
Yazdim kiş oldum
Bir gün sevdin, bin gün yoktun
Senin adini koydum
Ab Fm7
Papatya
Gm
Ah teker teker
Cm7
Koparip attim tüm yapraklarini
Eb
Tek tesellim
D
Son yaprakta seviyor kaldi
End of song Play again?
YirmiYedi - Papatya (Okan Şarlı) Tabs
NotesX
Harmony analysis
YirmiYedi – Papatya (Okan Şarlı): key and chord analysis
The song opens on G and ends on D. 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)
- #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 Gm is heard 4 times while Bb never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 4× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 4× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| v7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| V/ii | G | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 3× |
| bVII | Ab | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Ab · C · Eb | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| V/iv | G | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 3× |
| bII | Ab | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Ab · C · Eb | 2× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 4× |
| 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 | 4× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 4× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
| vii7 | Fm7 | Chromatic colour chordoutside the key | F · Ab · C · Eb | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 23 times in total; 3 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 D is V/vi, a secondary dominant heading for Gm. G acts as a secondary dominant, briefly pointing at another chord of the key. Ab is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×1
The move to watch is D → Gm, heard once. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → vi. 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 Cm7, land on C, Eb, G — 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.
- When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
- On Ab, follow the chord's notes (Ab · C · Eb) 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
The first chord is G; the ear learns where home is within a second. The backbone is Gm, Cm7, Eb, D — vi–ii7–IV–V/vi from the Bb side, i–iv7–VI–V from the Gm side. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is D; 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.
YirmiYedi - Papatya (Okan Şarlı) 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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