Pilli Bebek - Kızıl Gerdan - Chord

Key Db major – Bb minor Chords Bbm, Ab, Gb, Ebm7, Db, Fm, Gbmaj7, Ebm … Easy key C (capo 1)

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Capo 0

Ebm7  Dbmaj7  Ebm7  Gbmaj7  Fm7  Bbm  Ab  Gbmaj7

Bbm  Ab  Gbmaj7

Ebm  Db        Eb               Db
 Uzayıp gidiyor önümüzde gün ve gece
Gb       Fm
 Zamansız bahçelerde
Bbm         Ab  Gb
Her şarkıda bir nefes
Ebm      Db
 Akıl diye çıktık yola
Ebm      Db
 Sonra akıldan çıktık
Gb         Fm
 Bu rüzgara güvenilir mi
Bbm         Ab  Gb   
Her şarkıda bir nefes
Bbm         Ab  Gbmaj7
Her sevgide bin vefa
Fm            Ebm7
 Arayanların içinde

Ebm7  Dbmaj7  Ebm7  Gbmaj7  Fm7  Bbm  Ab  Gb

Ebm7    Db         Ebm        Db
 Avutamaz kalemimi, seslerden kalan izler
Gb    Fm                Bbm      Ab      Gb
 O izler ki çoğu zaman, duygular değildirler
Ebm7   Db                   Ebm7
 Kendi sorularını sormak ister
             Db
Biz kızıl gerdan kış ortasında
Gb         Fm
 Bu mevsime güvenilir mi
Bbm         Ab  Gb
Her kuytuda bir nefes
Bbm        Ab  Gbmaj7
Her uykuda bin sefa,
Fm            Ebm7
 Arayanların içinde

Ebm7  Db  Ebm7  Dbmaj7  Gb  Fm  Bbm  Ab  Gmaj7

Ebm              Bbm
Ah, salınır yine gökyüzünden
Ab                F7
Bir derinliğin sarhoşları
   Gb          Bbm
Uçuşur yine belki zaman
     Ab                F
Kuzeyden gelen kuşların seyrinde

Ebm              Bbm
Ah, salınır yine gökyüzünden
Ab                F7
Bir derinliğin sarhoşları
   Gb          Bbm
Uçuşur yine belki zaman
     Ab                F
Kuzeyden gelen kuşların seyrinde

End of song Play again?

Pilli Bebek - Kızıl Gerdan Tabs

NotesX

Harmony analysis

Pilli Bebek – Kızıl Gerdan: key and chord analysis

The song opens on Ebm7 and ends on F. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (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 Bb minor side because Bbm is heard 14 times against 12 for Db and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	9×
Imaj7	Dbmaj7	Tonic — home	Db · F · Ab · C	3×
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	11×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	6×
V/V	Eb	Secondary dominant V/V — leads to Absecondary dominant	Eb · G · Bb	1×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	7×
iii7	Fm7	Mediant — a tonic-family shade	F · Ab · C · Eb	2×
V7/vi	F7	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · Eb	2×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	2×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	12×
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	6×
#IVmaj7	Gmaj7	Chromatic colour chordoutside the key	G · B · D · F#	1×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	14×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	14×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	14×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	9×
IIImaj7	Dbmaj7	Relative major — the bright side	Db · F · Ab · C	3×
iv7	Ebm7	Subdominant — moves away from home	Eb · Gb · Bb · Db	11×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	6×
IV	Eb	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb	1×
v	Fm	Minor dominant — soft pull	F · Ab · C	7×
v7	Fm7	Minor dominant — soft pull	F · Ab · C · Eb	2×
V7	F7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · Eb	2×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	2×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	12×
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	6×
#VImaj7	Gmaj7	Chromatic colour chordoutside the key	G · B · D · F#	1×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	14×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 14 different chords appear 90 times in total; 10 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 / F is V7/vi, a secondary dominant heading for Bbm. Eb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×5
Gb Bbm DbIV → vi BbmVI → iVI → i ×4
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
Fm7 Bbm Dbiii7 → vi Bbmv7 → inatural-minor cadence ×2
Gbmaj7 Bbm DbIVmaj7 → vi BbmVImaj7 → iVI → i ×1

The move to watch is Fm → Bbm, heard 5 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
When F7 comes, swap the scale's Ab for A: 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

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

The song's harmonic story

The opening Ebm7 lays a solid floor for everything that follows. The backbone is Bbm, Ab, Gb, Ebm7 — vi–V–IV–ii7 from the Db side, i–VII–VI–iv7 from the Bbm side. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is F; the ear comes to rest in Db.

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.