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)
HiraiZerdüş - Sokağın Tavanı Kadar - Chord
Key Bb major – G minor Chords Dm, Eb, Cm, Gm, F Easy key C
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Key: Bb | Gm
Capo: 0
Dm Cm Dm
Bir sıkıntı var içimde
Cm Dm Dm Eb Dm
Sokağın tavanı kadar
Dm Cm Dm
Bir sıkıntı var içimde
Cm Dm Dm Eb
Sokağın tavanı kadar
Gm Eb
İçim sığmıyor içime
Dm Dm Eb
Sokağın tavanı kadar
Gm Eb
İçim sığmıyor içime
Dm F Eb Dm
Sokağın tavanı kadar
Dm Eb
Ayrılıklar gelir çatar
Dm Gm
Gözüm ufuklara akar
F
Desen ki beni ne kadar
Eb Dm
Sokağın tavanı kadar
Gm F
Desen ki beni ne kadar
Eb Dm
Sokağın tavanı kadar
Dm Cm Dm
Bir sevgi düştün önüme
Cm Dm Dm Eb Dm
Gözünü sürdüm gözüme
Dm Cm Dm
Bir sevgi düştün önüme
Cm Dm Dm Eb
Gözünü sürdüm gözüme
Gm Eb
Biri geziyor içimde
Dm Dm Eb
Sokağın tavanı kadar
Gm Eb
Biri geziyor içimde
Dm F Eb Dm
Sokağın tavanı kadar
Dm Eb
Ayrılıklar gelir çatar
Dm Gm
Gözüm ufuklara akar
F
Desen ki beni ne kadar
Eb Dm
Sokağın tavanı kadar
Gm F
Desen ki beni ne kadar
Eb Dm
Sokağın tavanı kadar
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HiraiZerdüş - Sokağın Tavanı Kadar Tabs
NotesX
Harmony analysis
HiraiZerdüş – Sokağın Tavanı Kadar: key and chord analysis
The song opens on Dm and ends on Dm. 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 Gm is heard 8 times while Bb never appears. 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 | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 34× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 18× |
| V | F | Dominant — strongest pull home | F · A · C | 6× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 8× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 8× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | 34× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 18× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 6× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 74 times in total; 5 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
- Eb Gm BbIV → vi GmVI → iVI → i ×4
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
The move to watch is Eb → Gm, heard 4 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 Dm, land on D, F, A — 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.
- Over Cm, land on C, Eb, G — 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Eb, Cm, Gm; read them as iii–IV–ii–vi in Bb or v–VI–iv–i in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. It closes on Dm, letting the Bb side have the last word.
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.
HiraiZerdüş - Sokağın Tavanı Kadar 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: Mazlum ÇimenMusic: Mazlum Çimen
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