Müslüm Gürses - Affet - Chord

Key Bb major – G minor Chords Gm, F, Eb, Cm, Bb, Dm, C, D … Easy key C

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Capo 0

Gm   Eb   F    Gm
Gm   Am   Cm   Eb   Gm

Bb        F         C      Gm
Eğer seni kırdıysam darıl bana
Bb               F       Gm   Dm  Gm
Ama bir gün beni ararsan bak ruhuna
Bb           F       Dm      Gm
Birden gecem tutarsa güneşi çevir bana
Eb        F       Gm 
Sevgilim bağışla biraz zor olsa da

Cm                     Gm
Affet beni akşamüstü, gölgem uzarken
F                    Gm 
Öğleden sonra affet, ne zaman istersen
Cm                     Gm
Affet beni gece vakti, ay doğmuş süzülürken
F                          D             Eb   F
Sabaha kalmadan affet, tam ayrılık derken 

     Gm                 Eb      F                 Gm
Çünkü sen çölüme yağmur oldun,  sen geceme gündüz oldun
                  F      Cm   Eb     F      Gm 
Sen canıma yoldaş oldun, sen kışıma yorgan oldun

Bb        F         C     Gm
Eğer seni kırdıysam darıl bana
Bb               F       Gm   Dm  Gm
Ama bir gün beni ararsan bak ruhuna
Bb           F       Dm      Gm
Birden gecem tutarsa güneşi çevir bana
Eb        F       Gm 
Sevgilim bağışla biraz zor olsa da

Cm                    Gm
Affet beni akşamüstü, gölgem uzarken
F                          D             Eb   F
Sabaha kalmadan affet, tam ayrılık derken

      Gm                Ebmaj7   F                 Gm
Çünkü sen çölüme yağmur oldun,  sen geceme gündüz oldun 
Gm                F      Cm   Eb     F      Gm  Eb  F
Sen canıma yoldaş oldun, sen kışıma yorgan oldun

End of song Play again?

Müslüm Gürses - Affet Tabs

NotesX

Harmony analysis

Müslüm Gürses – Affet: key and chord analysis

The song opens on Gm and ends on F. 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 opens on Gm, Gm is heard 25 times against 6 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	Bb	Tonic — home	Bb · D · F	6×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	6×
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	2×
iii	Dm	Mediant — a tonic-family shade	D · F · A	4×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	2×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	10×
IVmaj7	Ebmaj7	Subdominant — moves away from home	Eb · G · Bb · D	1×
V	F	Dominant — strongest pull home	F · A · C	21×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	25×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	25×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	1×
III	Bb	Relative major — the bright side	Bb · D · F	6×
iv	Cm	Subdominant — moves away from home	C · Eb · G	6×
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	2×
v	Dm	Minor dominant — soft pull	D · F · A	4×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	2×
VI	Eb	Submediant — warm colour	Eb · G · Bb	10×
VImaj7	Ebmaj7	Submediant — warm colour	Eb · G · Bb · D	1×
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). 10 different chords appear 78 times in total; 7 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. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×12
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×9
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
Cm Gm Bbii → vi Gmiv → iminor plagal ×3
Eb Gm BbIV → vi GmVI → iVI → i ×1
Ebmaj7 F BbIVmaj7 → VIV → V GmVImaj7 → VIIVI → VII ×1

The move to watch is F → Gm, heard 12 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 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.

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 Gm, the song gives away its key from the very first bar. Gm, F, Eb, Cm carry the song: vi–V–IV–ii relative to Bb, i–VII–VI–iv relative to Gm. 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 F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. It closes on F, 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.

Müslüm Gürses - Affet 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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Lyrics: Tuna Kiremitçi

Music: Ronnie James Dio, Ritchie Blackmore

Arrangement: Sunay Özgür

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