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)
Yol'a Düş - Ben Aklımı Gözlerine Takmışım - Chord
Key Bb major – G minor Chords Dm, Eb, F, Cm, Gm, Bb, Em, G … Easy key C
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Key: Bb | Gm
Capo: 0
Dm Dm Gm Eb Eb Eb F Eb Dm
Bb Cm Dm
Çocukların bir masala kandığı gibi
Gm
Ben de senin sözlerine kanmışım
Dm Eb
Güneşin yeryüzünü yaktığı gibi
Cm Eb F Eb Dm
Ben de senin gözlerine yanmııışım
Bb Cm F Eb Dm
Gel bulut ol da yağ da biraz ııslaandır
Cm Bb Dm
Al başımı dizlerine yaaslaandır
Gm Dm Eb
Delirmişim sev de beni uslandır
F Eb Dm
Ben aklımı gözlerine takmııışım
Bb Cm Dm
Geceme ay gündüzüme biraz güneş sal
Gm
Onurunla yaşa nolur sen hep böyle kal
Dm Eb
Sermayem sevgim canım onu da sen al
Cm Eb F Eb Dm
Ben de seni şu yüreğime salmışım
Am Em
Gel bulut ol da yağ da biraz ıslandır
F G F Em
Al başımı dizlerine yaslandır
Am G
Delirmişim sev de beni uslandır
F G F Em
Ben aklımı gözlerine takmışım
End of song Play again?
Yol'a Düş - Ben Aklımı Gözlerine Takmışım Tabs
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Harmony analysis
Yol'a Düş – Ben Aklımı Gözlerine Takmışım: key and chord analysis
The song opens on Dm 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
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 | 4× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 6× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 13× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 13× |
| #iv | Em | Chromatic colour chordoutside the key | E · G · B | 3× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| V/ii | G | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| V/iv | G | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 2× |
| III | Bb | Relative major — the bright side | Bb · D · F | 4× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 6× |
| v | Dm | Minor dominant — soft pull | D · F · A | 13× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 13× |
| #vi | Em | Chromatic colour chordoutside the key | E · G · B | 3× |
| 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). 9 different chords appear 57 times in total; 6 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×4
- Cm F Bbii → Vii → V Gmiv → VII ×1
The move to watch is Dm → Gm, heard 4 times. From the Bb side it reads iii → vi; from the Gm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 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.
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 Dm lays a solid floor for everything that follows. Dm, Eb, F, Cm carry the song: iii–IV–V–ii relative to Bb, v–VI–VII–iv relative to Gm. G adds a moment of surprise: secondary dominant V/ii — leads to Cm. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Em, 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.
Yol'a Düş - Ben Aklımı Gözlerine Takmışım 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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