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)
Ferhat Göçer - Gül Ki - Chord
Key Bb major – G minor Chords F, Eb, Bb, Gm, Dm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Bb F Bu sabah yerini kimler almış Eb F Diye düşündüm kalktığımda Gm Dm Eb F Hiçbiri seni hiçbiri beni hiçbiri bizi anlamamış Bb F Bu sabah telefonu hiç açmadım Eb F Çaldı durdu aldırmadım Gm Dm Eb F Hiçbirşey seni seni düşünmemi, engellemez ben anladım Bb F Bu sabah Bb F Gül ki sevgilim, gül ki gözlerin Eb F Solmasın sakın aşk çiçeğim Gm Dm Gel biraz bana, gel biraz daha Eb F Arşa çıksın nağmelerim Bb F Bu sabah adını boş kağıtlara Eb F Yazdım astım duvarlara Gm Dm Eb F Ben bir tek seni, eski günleri, istedim canım anlasana Bb F Bu sabah yatağın boş kısmını Eb F Resimlerinle süsledim Gm Dm Eb F Gördün halimi, anla derdimi, ne olur dön çok özledim Bb F Bu sabah
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Ferhat Göçer - Gül Ki Tabs
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Harmony analysis
Ferhat Göçer – Gül Ki: key and chord analysis
The song opens on Bb and ends on F. 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 Bb major side because it opens on Bb and Bb is heard 7 times against 5 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
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 | 7× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 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 | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 17× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 5× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 5× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 7× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | 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 | 10× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 17× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 44 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×10
- F Bb BbV → Iauthentic cadence GmVII → III ×6
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×5
The move to watch is Eb → F, heard 10 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
- 2 semitones up
The song's harmonic story
The first chord is Bb; the ear learns where home is within a second. The chords that keep coming back are F, Eb, Bb, Gm; read them as V–IV–I–vi in Bb or VII–VI–III–i in Gm. 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. The final chord is F; 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.
Ferhat Göçer - Gül Ki 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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