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)
Serkan Kaya - Yaradanım - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Db, B, Gb, Abm Easy key C (capo 6)
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Gb Db
Şarkılarda bıktı bendeki yastan
B
Ne alışabildim ahh ne acım dindi
Bbm Abm
Fethettiği kalbi terketmez insan
Bbm
Aşkın günahları gidenlerindi
Ebm Bbm
Camları açtım gitmiyor
Ebm Bbm
Kapıları kırdım yetmiyor
Db B
Bu nasıl bir hasrettir
Ebm B Bbm
Ağla ağla bitttmiiyor
Ebm Db Ebm Db Ebm B Bbm
Bbm
Yaradanım yerin göğün efendisi
Ebm Db B
Sen acıma şahitsin
Yaradınım ya döndür onu
Db B Bbm
Ya da kalbimden sil gitsin
Db B Bbm
Sil gitsin
Ebm Bbm Ebm Bbm Db B Ebm Db Ebm Db Ebm B Bbm
End of song Play again?
Serkan Kaya - Yaradanım Tabs
NotesX
Harmony analysis
Serkan Kaya – Yaradanım: key and chord analysis
The song opens on Gb 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: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor because it opens on Gb and Ebm is heard 12 times against 1 for Gb. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 1× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 1× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 12× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 9× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 10× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 12× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 12× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 1× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 1× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 12× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 9× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 10× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 45 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 ×6
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×4
- B Ebm GbIV → vi EbmVI → iVI → i ×2
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1
The move to watch is Bbm → Ebm, heard 6 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 Ebm, land on Eb, Gb, Bb — 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.
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
The opening Gb lays a solid floor for everything that follows. Bbm, Ebm, Db, B carry the song: iii–vi–V–IV relative to Gb, v–i–VII–VI relative to Ebm. 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.
Serkan Kaya - Yaradanım 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Hakkı YalçınMusic: Ceyhun ÇeliktenArrangement: Ceyhun Çelikten
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.