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)
Güncel Gürsel Artıktay - Aynalar - Chord
Key Bb major – G minor Chords Gm, Eb, Bb, F, Cm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Eb Gm Eb
Gm Eb
Aynalar gibi yorgun
Gm Eb
Olsam da yine geçer
Gm Eb
Kim demiş bana durgun
Gm Eb Bb
Söylesem bile duymaaaaz
Bb F Gm
Bir hiç için bana kal derken bile
Eb
Aynalar gibi yorgun
Bb F Gm
Bir gün için bana öl derken bile
Eb
Sesler gibi suskun
Gm Eb
Ruhun akar gözümden
Gm Eb
Bakarım konuşamam
Gm Eb
Nasıl bir ben istersen
Gm Eb
Sonuna alışamam
Bb F Gm
Bir hiç için bana kal derken bile
Eb
Aynalar gibi yorgun
Bb F Gm
Bir gün için bana öl derken bile
Eb
Sesler gibi suskun
Eb F Gm
Son bir kez yüzüme bakarken
Gm Cm
Aynalar gibi, aynalar gibi yorgun
End of song Play again?
Güncel Gürsel Artıktay - Aynalar Tabs
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Harmony analysis
Güncel Gürsel Artıktay – Aynalar: key and chord analysis
The song opens on Gm and ends on Cm. 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: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 16 times against 5 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.
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 | 5× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 1× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 15× |
| V | F | Dominant — strongest pull home | F · A · C | 5× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 16× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 16× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 5× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 1× |
| 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 | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 15× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 5× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 42 times in total; 5 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
- Eb Gm BbIV → vi GmVI → iVI → i ×9
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×5
- Eb Bb BbIV → Iplagal cadence GmVI → III ×4
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×1
The move to watch is Eb → Gm, heard 9 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. Gm, Eb, Bb, F carry the song: vi–IV–I–V relative to Bb, i–VI–III–VII relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. Ending on Cm, 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.
Güncel Gürsel Artıktay - Aynalar 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: Güncel Gürsel ArtıktayMusic: Güncel Gürsel ArtıktayArrangement: Güncel Gürsel Artıktay
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