Ersay Üner - Güm - Chord

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

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Capo 0

Gm  Gm  Dm  Dm

Gm
Uzun zamandır atmıyordu böyle kalbim güm güm güm
Dm
Tam unutmuştum seni ne ara niye geri döndün hı
Gm
Yasın tutulmuştu üstü çizilmişti o çok sevdiğin isminin
Dm
Sakın birşey söyleme artık bir anlamı yok sözlerin ve o gözlerin

Gm
Gözlerin bana yine yalancı yalancı bakıyor bakıyor
Dm                                     Eb
Bilenin ahını bilmeyenin aklını alıyor uçuruyor
Gm
Acısı dün gibi kalbime kalbime vuruyor dokunuyor
Dm
Dile kolay tabi yaşa da gör nasıl yanıyor canın

Gm
Söz vermiştin sözü tutmalı ya da bir ömür boyu susmalı
Dm
Aşktı geçti çok zorladı ama zerresi kalmadı
Gm
Söz vermiştin ya tutmalı ya da bir ömür boyu susmalı
Dm
Aşktı geçti çok zorladı ama zerresi kalmadı

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Ersay Üner - Güm Tabs

NotesX

Harmony analysis

Ersay Üner – Güm: 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 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	—
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	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	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	—

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	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	—
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	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	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). 3 different chords appear 17 times in total; 3 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 ×5
Eb Gm BbIV → vi GmVI → iVI → i ×1

The move to watch is Dm → Gm, heard 5 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 Gm, land on G, Bb, D — 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.
Over Eb, land on Eb, G, Bb — 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
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, Dm, Eb; read them as vi–iii–IV in Bb or i–v–VI in Gm. 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. Ending on Dm, the song seals Bb as home.

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.