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)
Suzan Hacıgarip - Şimdi Biraz Uyu - Chord
Key Bb major – G minor Chords Gm, Dm7, Cm7 Easy key C
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Key: Bb | Gm
Capo: 0
Gm Dm7 Gm
Gm Dm7 Cm7
Gm Dm7 Cm7
İnsan eksildikçe ağırlaşır bilirim gitgide
Gm Dm7 Cm7
Elimden tut beni yine gülüşüne kilitle
Gm Dm7 Cm7
Ne yazsam onu söyler dilim
Gm Dm7 Cm7
Şimdi biraz uyu, biraz dinle
Gm Dm7 Cm7
İnsan eksildikçe ağırlaşır bilirim gitgide
Gm Dm7 Cm7
Elimden tut beni yine gülüşüne kilitle
Gm Dm7 Cm7
Ne yazsam onu söyler dilim
Gm Dm7 Cm7
Şimdi biraz uyu, biraz dinle
Gm Dm7 Cm7
Yandığım sokaklarııı bir bir gezdim
Gm Dm7 Cm7
Küllerim saçılmış etrafa
Gm Dm7 Cm7
Duvarları boyamışlarr kan rengine
Gm Dm7 Cm7
Tanımak zormuş, unutunca
Gm Dm7 Cm7
Yandığım sokaklarııı bir bir gezdim
Gm Dm7 Cm7
Küllerim saçılmış etrafa
Gm Dm7 Cm7
Duvarları boyamışlarr kan rengine
Gm Dm7 Cm7
Tanımak zormuş, unutunca
End of song Play again?
Suzan Hacıgarip - Şimdi Biraz Uyu Tabs
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Harmony analysis
Suzan Hacıgarip – Şimdi Biraz Uyu: key and chord analysis
The song opens on Gm and ends on Cm7. 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 19 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 17× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 18× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 19× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 19× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 17× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 18× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| 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 54 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
- Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×16
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×1
The move to watch is Cm7 → Gm, heard 16 times. From the Gm side it is iv7 → i (minor plagal: deep and melancholic); from the Bb side it reads ii7 → 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, 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
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Gm, Dm7, Cm7; read them as vi–iii7–ii7 in Bb or i–v7–iv7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Gm (ii7 → vi in Bb, iv7 → i in Gm): minor plagal — deep and melancholic. The final chord is Cm7; the ear comes to rest in Bb.
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.
Suzan Hacıgarip - Şimdi Biraz Uyu 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: Suzan HacigaripMusic: Suzan Hacigarip
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