Sıla - Haytalar Dükkanı - Chord

Key Gb major – Eb minor Chords Bbm, Abm, Db, Ebm, Gb, B, E, D Easy key C (capo 6)

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Capo 0

Bbm                              Abm 
Geçmiş gün ama sen hatırlarsın eminim
     Db                   Bbm
Hani köprüaltı, nargile sabahı
D                       Db    B
Çarşı, pazar ne gündü yalan mıı
    Db                       Bbm
Denizli, güneşli, caddeli, sokaklı

Ebm                          Bbm
Geçen akşam oturduk eski takıım
  E     Db    Gb
Seni ne çok andık
E         Db
Olsaydı dedik kaçak
            Gb
Gülmekten ağlardık

Ebm  Bbm  Abm  Ebm

Bbm               Abm      Bbm
Gerçi biz de eski biz değiliz
                          Abm
Akşamcı sohbetleri geride kaldı
                     Bbm
Hayat şekle şemale girince
Gb          Abm       Bbm   B
Haytalar dükkanı da kapandıııı
Db          Abm       Bbm
Haytalar dükkanı da kapandı

Bbm                     Abm 
Kahkaha vurur dört duvara ölünmez
   Db                     Bbm
Kıyak matrak ama gamsız girilmez
D               Db       B
Gönül indirir incecik boynunu
Db                 Bbm
Yoklamada yoksun be hocam

Ebm                          Bbm
Geçen akşam oturduk eski takıım
  E     Db    Gb
Seni ne çok andık
E         Db
Olsaydı dedik kaçak
            Gb
Gülmekten ağlardık

Ebm  Bbm  Abm  Ebm

Bbm               Abm      Bbm
Gerçi biz de eski biz değiliz
                          Abm
Akşamcı sohbetleri geride kaldı
                     Bbm
Hayat şekle şemale girince
Gb          Abm       Bbm   B
Haytalar dükkanı da kapandıııı
Db          Abm       Bbm
Haytalar dükkanı da kapandı

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Sıla - Haytalar Dükkanı Tabs

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Harmony analysis

Sıla – Haytalar Dükkanı: key and chord analysis

The song opens on Bbm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

Major view

Gb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = F (leading tone, pulls home)
4 = Cb (the note that leans on the 3rd)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor. Try reading the chords both ways and see which feels more like home to you.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Gb or to Ebm; 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	6×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	12×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	20×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	4×
V	Db	Dominant — strongest pull home	Db · F · Ab	12×
bVI	D	Borrowed from the parallel minorborrowed chord	D · F# · A	2×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	6×
bVII	E	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	E · G# · B	4×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	6×
bII	E	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	E · G# · B	4×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	6×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	12×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	20×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	4×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	12×
#VII	D	Chromatic colour chordoutside the key	D · F# · A	2×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 8 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. E, D are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Db Gb GbV → Iauthentic cadence EbmVII → III ×4
B Db GbIV → VIV → V EbmVI → VIIVI → VII ×4
Abm Ebm Gbii → vi Ebmiv → iminor plagal ×2
Abm Db Gbii → Vii → V Ebmiv → VII ×2
Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2

The move to watch is Db → Gb, heard 4 times. From the Gb side it reads V → I (authentic cadence: the strongest arrival home); from the Ebm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
On E, follow the chord's notes (E · G# · B) rather than the key's scale — it's a borrowed colour.

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 Gb major shapes

Capo 2 + E shapes
Capo 4 + D shapes
Capo 6 + C shapes

With Eb minor shapes

Capo 1 + Dm shapes
Capo 6 + Am shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

Starting on Bbm, the song gives away its key from the very first bar. Bbm, Abm, Db, Ebm carry the song: iii–ii–V–vi relative to Gb, v–iv–VII–i relative to Ebm. E briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Db → Gb (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. The final chord is Bbm; the ear comes to rest in Gb.

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.