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)
Halil Sezai - Garip - Chord
Key Bb major – G minor Chords Gm, Eb, Dm7, Cm7, Em Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Neyim var, neyim yok, anlamadım
Eb
Neyi sattık zamana, niye
Dm7
Ne zaman ağladık bu kadar
Gm
Ruhumuzu gömecek kadar
Gm
Sözler hep yalan söyler
Eb Cm7
Aşktan, çaresizlikten kalmak
Dm7
Azaptır içime akıttığım yaşlar, olmaz
Gm Eb
Olmaz aşk böyle susmaz
Cm7
İçimde şarkılar sen benden gittin gideli
Dm7 Gm
Hayat bana biraz, garip
Gm Eb
Bilmez kimse halimi, görmez
Cm7
Git demek kolay, iş etmez
Dm7
Uzak düşlerde yok olmuşum, dünya dönmez
Gm Eb
Olmaz, bu aşk böyle yaşanmaz
Cm7
Bu hesaplarla sen benden gittin gideli
Dm7 Gm
Hayat bana biraz, garip
Em
Garip
End of song Play again?
Halil Sezai - Garip Tabs
NotesX
Harmony analysis
Halil Sezai – Garip: key and chord analysis
The song opens on Gm and ends on Em. 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: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 8 times while Bb never appears. 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× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 5× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 5× |
| #iv | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 8× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 8× |
| 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× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 5× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 5× |
| #vi | Em | Chromatic colour chordoutside the key | E · G · B | 1× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 23 times in total; 4 of them sit naturally inside the shared scale. Em step outside the scale as colour chords.
Chord movement
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×5
The move to watch is Dm7 → Gm, heard 5 times. From the Gm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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
The opening Gm lays a solid floor for everything that follows. Gm, Eb, Dm7, Cm7 carry the song: vi–IV–iii7–ii7 relative to Bb, i–VI–v7–iv7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm (iii7 → vi in Bb, v7 → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Em; 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.
Halil Sezai - Garip 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: Halil SezaiMusic: Halil SezaiArrangement: Sadun Ersönmez
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