İmera - Sonum Son Değil - Chord

Key Bb major – G minor Chords Dm, F, Cm, Cm7, Eb, Bb Easy key C

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Capo 0

Dm                              F
Kaybettim kendimi, yolum yol değil
                     Cm          Dm
Böyle giderse hayat, sonum son değil

Dm  Dm  Dm  F  F  F  Cm  Dm

Dm                   Cm        Dm
Kapanmaz bu gönlümde sevda yarasi

Dm       Cm7       Dm        Eb
Silinmez leke oldu kaderimun karasi

Dm       Cm7       Dm        Bb
Derlenup ağlamanin şimdi sırasi

Dm                              F
Kaybettim kendimi, yolum yol değil
                     Cm          Dm
Böyle giderse hayat, sonum son değil

Dm                   Cm        Dm
Dinle sevduğum dinle sözüm sanadur

Dm       Cm7        Dm       Eb
Yar bana ettuklerun yureğume yaradur
Dm       Cm7        Dm     Eb
Bana soylduklerun yureğume yaradur

Dm      Cm7        Dm        Bb
Ağla gözlerum ağla şimdi siradur

Dm                              F
Kaybettim kendimi, yolum yol değil
                     Cm          Dm
Böyle giderse hayat, sonum son değil

End of song Play again?

İmera - Sonum Son Değil Tabs

NotesX

Harmony analysis

İmera – Sonum Son Değil: key and chord analysis

The song opens on Dm 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 Bb major side because Bb is heard 2 times while Gm never appears. 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	2×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	6×
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	5×
iii	Dm	Mediant — a tonic-family shade	D · F · A	24×
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	3×
V	F	Dominant — strongest pull home	F · A · C	6×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
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	—
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	2×
iv	Cm	Subdominant — moves away from home	C · Eb · G	6×
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	5×
v	Dm	Minor dominant — soft pull	D · F · A	24×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	3×
VII	F	Subtonic — steps back to the tonic	F · A · C	6×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 46 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 F, land on F, A, C — 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 opening Dm lays a solid floor for everything that follows. Dm, F, Cm, Cm7 carry the song: iii–V–ii–ii7 relative to Bb, v–VII–iv–iv7 relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Dm, 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.