Mor ve Ötesi - Anlatamıyorum - Chord

Key Bb major – G minor Chords F, Eb, Bb, Cm, Gm, Fm Easy key G (capo 3)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Gm       F          Bb
Ne oldu karıştı her şey
Eb   F        Cm
Korktum sözüm bir adım geride
Eb  F        Cm
Şimdi duyor musun
             F       Bb
Her şey ama her şey geçer

Gm        F            Bb
Sakinsin biraz derdin var
Eb        F        Cm
Kendi kendine dünyayı ters çevirmişsin
Eb   F          Cm
Bir şey biliyor musun
                 F           Bb
Ben doğduğumdan beri hep böyleyim

Bb                     Fm
Ne çok şey gizlemişim rüyalarıma
Bb                        Fm
Ne kadar çok hüzün yüklü omuzlarında
Gm        F    Fm        Eb 
Bir şey içsem sorunları çözsem
F                   
Olur mu olur mu

Eb           
Bir yer var biliyorum
F                   Cm  F
Her şeyi söylemek mümkün
Eb
Epeyce yaklaşmışım
F                  Cm  F
Duyuyorum anlatamıyorum

Gm     F     Fm     Eb

End of song Play again?

Mor ve Ötesi - Anlatamıyorum Tabs

NotesX

Harmony analysis

Mor ve Ötesi – Anlatamıyorum: key and chord analysis

The song opens on Gm and ends on Eb. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor because it opens on Gm and Bb is heard 6 times against 4 for Gm. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	6×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	6×
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	Eb	Subdominant — moves away from home	Eb · G · Bb	8×
V	F	Dominant — strongest pull home	F · A · C	15×
v	Fm	Chromatic colour chordoutside the key	F · Ab · C	4×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	4×
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	4×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	6×
iv	Cm	Subdominant — moves away from home	C · Eb · G	6×
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	Eb	Submediant — warm colour	Eb · G · Bb	8×
VII	F	Subtonic — steps back to the tonic	F · A · C	15×
vii	Fm	Chromatic colour chordoutside the key	F · Ab · C	4×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 43 times in total; 5 of them sit naturally inside the shared scale. Fm step outside the scale as colour chords.

Chord movement

Eb F BbIV → VIV → V GmVI → VIIVI → VII ×7
F Bb BbV → Iauthentic cadence GmVII → III ×4
Cm F Bbii → Vii → V Gmiv → VII ×4
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1

The move to watch is Eb → F, heard 7 times. From the Bb side it reads IV → V (IV → V: the lift that builds tension before home); from the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 F, land on F, A, C — 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.
Over Bb, land on Bb, D, F — 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
4 semitones up

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. The backbone is F, Eb, Bb, Cm — V–IV–I–ii from the Bb side, VII–VI–III–iv from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): IV → V — the lift that builds tension before home. Ending on Eb, the song seals Bb 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.