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)
İkiye On Kala - Sonra Kül Tablasında Yer Arıyorsun - Chord
Key Bb major – G minor Chords Gm, Bb, Eb, Dm, Cm, A Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm Cm
İnsanlar gidiyor, hep eşyalar kalıyor
Bb A Gm
Bazı cümleler hiçbir anlama gelmiyor
Eb Cm Gm
Çırılçıplak hayatın ortasında
Bb A Gm
Yalnızca soğuktan üşünmüyor
Gm Cm
İnsan ağlıyor da konuşamıyor
Bb A Gm
Her şeyi herkese anlatamıyor
Eb Cm Gm
Paramparça uykulardan uyanıp
Bb A Gm
Sonra kül tablasında yer arıyor
Bb Dm Eb
Yalan söylüyorlar ya da bilmiyorlar
Gm Bb Dm Eb
Öyle her şeye rağmen gülemiyor insan
Gm Bb Dm Eb
Yağmurlar içine yağıyor üşüyorsun
Gm Bb Dm
Bazen piç gibi ortada kalıyorsun
Gm Bb Dm Eb
Yalan mı değil, yalan mı değil
Gm Bb Dm Eb
Yalan mı değil, yalan mı aaah
Bb Dm Eb
Yalan söylüyorlar ya da bilmiyorlar
Gm Bb Dm Eb
Öyle her şeye rağmen gülemiyor insan
Gm Bb Dm Eb
Yağmurlar içine yağıyor üşüyorsun
Gm Bb Dm Eb
Bazen piç gibi ortada kalıyorsun
Gm Bb Dm Eb
Yalan mı değil, yalan mı değil
Gm Bb Dm Eb
Yalan mı değil, yalan mı aaah
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İkiye On Kala - Sonra Kül Tablasında Yer Arıyorsun Tabs
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Harmony analysis
İkiye On Kala – Sonra Kül Tablasında Yer Arıyorsun: key and chord analysis
The song opens on Gm and ends on Eb. 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 18 times against 16 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 | 16× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 12× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 13× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 18× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| V/iii | A | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 18× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| V/v | A | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E | 4× |
| III | Bb | Relative major — the bright side | Bb · D · F | 16× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | 12× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 13× |
| 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). 6 different chords appear 67 times in total; 5 of them sit naturally inside the shared scale. A acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Eb Gm BbIV → vi GmVI → iVI → i ×9
- Cm Gm Bbii → vi Gmiv → iminor plagal ×2
- Eb Bb BbIV → Iplagal cadence GmVI → III ×1
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×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 Bb, land on Bb, D, F — 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. Gm, Bb, Eb, Dm carry the song: vi–I–IV–iii relative to Bb, i–III–VI–v relative to Gm. A adds a moment of surprise: secondary dominant V/iii — leads to Dm. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. Ending on Eb, 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.
İkiye On Kala - Sonra Kül Tablasında Yer Arıyorsun 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: UrasMusic: Uras
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