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)
Ozan Doğulu - Yalnızlık Fm - Chord
Key Bb major – G minor Chords Gm, Cm, Eb, Am7, D Easy key C
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Key: Bb | Gm
Capo: 0
Gm Cm
Gidiyor adımların geri
Eb Am7 D
Gitmeler zor bir de kalmayı denesen mi
Gm Cm
Sarıyor sözleri bir telaş
Eb Am7 D
Sus der gibi kısa cümleler daha etkili
Gm Cm
Kırık plak, dönsün bırak
Eb Am7 D
Başa sarsın aşk, bizi kırdığı yerden
Gm Cm
Aç radyoyu, çalsın hayat
Eb Am7 D
Bana şarkılar, yine Yalnızlık Fm'den
Gm Cm
Bitecek her güzel şey gibi
Eb Am7 D
Aşk böyle hep gözyaşın oynar son perdeyi
Gm Cm
Şimdi kal biraz daha yarınlar zaten senin
Eb Am7 D
Güven bana ikimiz için bu en iyisi
Gm Cm
Kırık plak, dönsün bırak
Eb Am7 D
Başa sarsın aşk, bizi kırdığı yerden
Gm Cm
Aç radyoyu, çalsın hayat
Eb Am7 D
Bana şarkılar, yine Yalnızlık Fm'den
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Ozan Doğulu - Yalnızlık Fm Tabs
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Harmony analysis
Ozan Doğulu – Yalnızlık Fm: key and chord analysis
The song opens on Gm and ends on D. 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)
- #7 = F# (harmonic-minor leading tone from the V chord)
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, Gm is heard 8 times while Bb never appears and the major V chord points straight at Gm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 8× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 8× |
| 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 | — |
| vii7 | Am7 | Chromatic colour chordoutside the key | A · C · E · G | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 8× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii7 | Am7 | Chromatic colour chordoutside the key | A · C · E · G | 8× |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 8× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 8× |
| 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). 5 different chords appear 40 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm. Am7 step outside the scale as colour chords.
Chord movement
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×7
The move to watch is D → Gm, heard 7 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → 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 Cm, land on C, Eb, G — 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.
- When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
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
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Cm, Eb, Am7; read them as vi–ii–IV–vii7 in Bb or i–iv–VI–ii7 in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. It closes on D, 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.
Ozan Doğulu - Yalnızlık Fm 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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Lyrics: Sadettin DayıoğluMusic: Ah Canım Ahmet
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