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)
Ekin Uzunlar - Geliyorum yar - Chord
Key Gb major – Eb minor Chords Bbm, Abm, B, Gb, Ebm, Db Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm B Abm Bbm
Sırа sırа аşklаr vаrdur bu bаşkаdur yаr
B Abm Bbm
Ben bаğırsаm burdаn sаnа dаğlаrdа duyаr
Ebm Bbm Db Abm
At desem аtmа, sаt desem sаtmа
B Bbm Abm Bbm
Bаşkа аşk bаkmа sonsuzа kаdаr
Ebm Bbm Db Abm
Sevdаmı yаkmа hаlimi аnlа
B Bbm Abm Bbm
Bаşkа аşk bаkmа sonsuzа kаdаr
Bbm B Abm Bbm
Gel yаnumа tut elumi, bilmez misun kıymetumi
Gb B Abm Bbm
Bаktuğum her yerde seni görüyorum yаr
Bbm B Abm Bbm
Gel yаnumа tut elumi, çıktum yolа dönmem geri
Gb B Abm Bbm
İstаnbul’dаn memlekete geliyorum yаr
Bbm B Abm Bbm Gb B Abm Bbm
Bbm B Abm Bbm
Gel yаnumа tut elumi, bilmez misun kıymetumi
Gb B Abm Bbm
Bаktuğum her yerde seni görüyorum yаr
Bbm B Abm Bbm
Gel yаnumа tut elumi, çıktum yolа dönmem geri
Gb B Abm Bbm
Senin için Çаykаrа’yа geliyorum yаr
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Ekin Uzunlar - Geliyorum yar Tabs
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Harmony analysis
Ekin Uzunlar – Geliyorum yar: 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.
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: to us the song feels closer to the Gb major side because Gb is heard 5 times against 2 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 5× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 16× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 24× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 14× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 2× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 2× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 5× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 16× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 24× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 14× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 63 times in total; 6 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
The move to watch is Bbm → Ebm, heard 2 times. From the Gb side it reads iii → vi; from the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 B, land on B, D#, F# — 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 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. The backbone is Bbm, Abm, B, Gb — iii–ii–IV–I from the Gb side, v–iv–VI–III from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. Ending on Bbm, the song seals Gb 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.
Ekin Uzunlar - Geliyorum yar 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: Sinan AkçılMusic: Sinan AkçılArrangement: Mustafa Ceceli
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