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)
Esra Kahraman - Cesaretin Var mı Aşka - Chord
Key Bb major – G minor Chords Gm, F, Eb, Dm, Cm Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Dm Eb F
Gm
Birgün bir çılgınlık edip
Cm
Seni sevdiğimi söylesem
Eb
Alay edip güler misin
F
Yoksa sen de sever misin
Gm Dm Eb F
Gm
Cesaretin var mı aşka
F
Çarpıyor kalbim bir başka
Eb
Sen de böyle sevsen keşke
F Gm
Desen bana yar
Gm Dm Eb F
Gm
Konuşmadan gözlerinle
Cm
Beni sevdiğini söylesen
Eb
Yüreğime gözlerini
F
Ölene dek mühürlesen
Gm Dm Eb F
Gm
Cesaretin var mı aşka
F
Çarpıyor kalbim bir başka
Eb
Sen de böyle sevsen keşke
F Gm
Desen bana yar
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Esra Kahraman - Cesaretin Var mı Aşka Tabs
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Harmony analysis
Esra Kahraman – Cesaretin Var mı Aşka: key and chord analysis
The song opens on Gm and ends on Gm. 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 both starts and finishes on Gm and Gm is heard 10 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 4× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 8× |
| V | F | Dominant — strongest pull home | F · A · C | 10× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | 4× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 8× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 10× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 34 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
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×8
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×8
The move to watch is F → Gm, heard 8 times. From the Gm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Bb side it reads V → vi (deceptive cadence: expected Bb, lands on Gm). 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 F, land on F, A, C — 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.
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. The chords that keep coming back are Gm, F, Eb, Dm; read them as vi–V–IV–iii in Bb or i–VII–VI–v in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on F → Gm (V → vi in Bb, VII → i in Gm): Aeolian arrival — rises a whole tone into home. It closes on Gm, letting the Gm 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.
Esra Kahraman - Cesaretin Var mı Aşka 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: GülayMusic: Gülay
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