Sancak - Gözyaşı - Chord

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

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Capo 0

Gm  Dm  Gm  Dm

       Gm                              Dm
Doldurdum yine yeri göğü senle, ellerimden yok oldun
        Eb                           Dm
Kimler rüzgar oldu sana da böyle savruldun
     Cm                             Dm
Bak bana ne dilekler geçer içimden aklımda sendin
      Cm                         Dm   Gm
Bak bana düşecekken  yine sana doğruldum

        Gm                             Dm
Fark etmez yine deli gönül beklesin de asırlar oldu
        Eb                              Dm
Kimlerden medet umar elim sen yüzünden aklımdan oldum
 Cm                           Dm
Ah, yine de gülüşün var içimde yazıklar olsun
      Cm                        Dm   Gm
Bak bana düşecekken yine sana doğruldum

Gm                   Dm
Seni gözyaşım kadar çok sevdim
         Eb                F
Bir çoğuna senin sebep olduğun üstelik
      Cm                     Dm
Yarınlar bizim ya da gidersen git
                  Eb      F         Bb         F
Senleyim, fark etmez, öleceksem de ben kabullendim

Gm  Dm  Cm  Dm
Eb  Dm  Cm  Dm

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Sancak - Gözyaşı Tabs

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Harmony analysis

Sancak – Gözyaşı: key and chord analysis

The song opens on Gm and ends on Dm. 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: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 8 times against 1 for Bb. 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	1×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	7×
iii	Dm	Mediant — a tonic-family shade	D · F · A	16×
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×
V	F	Dominant — strongest pull home	F · A · C	3×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	8×
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	8×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	1×
iv	Cm	Subdominant — moves away from home	C · Eb · G	7×
v	Dm	Minor dominant — soft pull	D · F · A	16×
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×
VII	F	Subtonic — steps back to the tonic	F · A · C	3×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 40 times in total; 6 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

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
F Bb BbV → Iauthentic cadence GmVII → III ×1
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1

The move to watch is Dm → Gm, heard 4 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — 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 first chord is Gm; the ear learns where home is within a second. The backbone is Dm, Gm, Cm, Eb — iii–vi–ii–IV from the Bb side, v–i–iv–VI from the Gm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; 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.