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)
Key Bb major – G minor Chords Dm, Gm, F, Eb, Cm, Bb Easy key C
Dm
Daha ilk bakışta tutuştu kalbim
Gm F Eb Dm
Bu nasıl güzellik aman yarabbim
Her aşık kül olur düşer peşine
Gm F Eb Dm
Bana böyle bakma merhamet et sevgilim
Gm Cm
Dayanmaz halim yaman, var mı hiç aşka doyan
Dm Bb Cm
Onun saf gülüşüne zar zor dayandım inan
Gm Cm
Ellerini tutmadan göğsünde uyumadan
Dm Eb F Gm
Neden sevemez kişmse bi kalbi hiç kırmadan
Dm
Gül rengi dudağı tutuşturdu aşkı
Gm
Yaktı ortalığı kül bıraktı
Cm
Gözleri çıkmaz sokak bi baktı halim harap
F Eb Dm
Bana bir şey de yarab iz bıraaktı
Dm
Dünya güzelse sebebi sensin
Gm F Eb Dm
Bir bak da şu gönlüm kendine gelsin
Bir gönle girmeyen aşkı ne bilsin
Gm F Eb Dm
Sevgilim baş tacım buyursun gelsin
Gm Cm
Ben aşka inandım ve ona emanetim
Dm Bb Cm
Git gide çoğalıyor sevmeye cesaretim
Gm Cm
Kimi kaçıyor aşktan kimi siliyor baştan
Dm Eb F Gm
Ben teslimim ona ve onda kıyametim
Dm
Bir baktın kalbime tutuştu sen diye
Gm
Peşinden sürgüne kül bıraktı
Cm
Aşk nefes gibi yer yüzü cenneti
F Eb Dm
Ah o gözleri iz bıraaktı
Dm
Gül rengi dudağı tutuşturdu aşkı
Gm
Yaktı ortalığı kül bıraktı
Cm
Gözleri çıkmaz sokak bi baktı halim harap
F Eb Dm
Bana bir şey de yarab iz bıraaktı
End of song Play again?
Harmony 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
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 13 times against 2 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.
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 | 2× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 9× |
| 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 | 9× |
| V | F | Dominant — strongest pull home | F · A · C | 9× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 13× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 13× |
| 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 | 9× |
| 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 | 9× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 9× |
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 58 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.
The move to watch is Dm → Gm, heard 9 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.
Empty slices are chords the song doesn't use.
The first chord is Dm; the ear learns where home is within a second. Dm, Gm, F, Eb carry the song: iii–vi–V–IV relative to Bb, v–i–VII–VI relative to 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.
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.
Ready-made lists by difficulty and mood.
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