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)
Onur Can Özcan - Ukde - Chord
Key Bb major – G minor Chords Eb, F, Dm, Gm, Cm, D Easy key C
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Key: Bb | Gm
Capo: 0
Dm
Benimle birlikte
F Eb
Büyüyen bir ukde var içimde
Gm F Eb
İnatçı bi şarkı gibi
Dm Cm Dm
Gururumla didişen, adı sen
Dm
Ömrünle birlikte
F Eb
Kısalan bir adam var önünde
Gm F Eb
Yüzsüz bir mazi gibi
Dm Cm Dm
Her an peşinden gelen, adı ben
Gm F Eb
Kim bilir beni seven bir sen, nasıl gülümserdi
Dm F
Hak etmedim belki, kaldıramam fazla gelir
Cm Gm F
Adımı söylemen bile bozarken dengemi
Eb D
Ne haddime beni seven, gülümseyen bir sen
Eb
Kim bilir ben olmasaydım kim ağlardı
F Dm
Söyle hangisinin gözyaşı gülebilir
Cm Gm F
Ağlayan bir gamzedir insan, bazen aldatır
Eb D Eb Gm
Seni senle aldatacak kadar kim sevebilir
Cm D Eb Gm
Seni senle aldatacak kadar kim sevebilir
End of song Play again?
Onur Can Özcan - Ukde Tabs
NotesX
Harmony analysis
Onur Can Özcan – Ukde: key and chord analysis
The song opens on Dm and ends on Gm. 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 it comes to rest on Gm, Gm is heard 7 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 5× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 8× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 3× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 7× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 7× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 5× |
| v | Dm | Minor dominant — soft pull | D · F · A | 8× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 3× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 10× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 9× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 42 times in total; 5 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.
Chord movement
- Eb Gm BbIV → vi GmVI → iVI → i ×4
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1
- Cm D Bbii → V/vi Gmiv → Viv → V ×1
The move to watch is Eb → Gm, heard 4 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → 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 Eb, land on Eb, G, Bb — 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 Dm, land on D, F, A — 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 Dm, the song gives away its key from the very first bar. The chords that keep coming back are Eb, F, Dm, Gm; read them as IV–V–iii–vi in Bb or VI–VII–v–i in 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 Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. It closes on Gm, letting the Gm 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.
Onur Can Özcan - Ukde 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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