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)
Batuhan Kordel - Yabancı Tavanlar - Chord
Key Db major – Bb minor Chords Bbm, Ab, Eb, Gb, Fm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Eb Bbm Ab
Bbm Eb Bbm
İsyan eder gibi, tüm bu yaşananlara
Ab Bbm
Bundan mı sert bakar, yabancı tavanlara
Eb Bbm
Saçları dağınık, yüzünde makyaj yok
Ab Bbm
Gerçek güzelliği, çıkmış ortaya
Bbm Eb Bbm Ab
Bbm Eb Bbm
Özler mi geçmişi, pişmanlık dolu günleri
Ab Bbm
Vardı en azından, belli bi düzeni
Eb Bbm
Hiç üzülür mü, ağlar mı bir şeye
Ab Fm Bbm
Yoksa doğru mu, taştan mı kalbi
Gb Ab Gb
İstemez miydi, huzur dolu bir hayat
Ab Fm
Yeni bir sayfa, teni kadar bembeyaz
Bbm Ab Gb
Tek yön bir bilet, yolun sonu çok acı
Ab Bbm
Utanma duyulsun, yardım çığlıkların
Ab Gb
Belki önünde, güzel yarınların var
Ab Bbm
Kazananı belli değil, bu bitmez savaşın
End of song Play again?
Batuhan Kordel - Yabancı Tavanlar Tabs
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Harmony analysis
Batuhan Kordel – Yabancı Tavanlar: key and chord analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 17 times while Db never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| V/V | Eb | Secondary dominant V/V — leads to Absecondary dominant | Eb · G · Bb | 6× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 2× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 4× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 12× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 17× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 17× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| IV | Eb | Major IV — Dorian / melodic-minor colourmodal colour | Eb · G · Bb | 6× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 2× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 4× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 12× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 41 times in total; 4 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×7
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2
The move to watch is Ab → Bbm, heard 7 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). 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 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. The backbone is Bbm, Ab, Eb, Gb — vi–V–V/V–IV from the Db side, i–VII–IV–VI from the Bbm side. Eb adds a moment of surprise: secondary dominant V/V — leads to Ab. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. The final chord is Bbm; the ear comes to rest in Bbm.
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.
Batuhan Kordel - Yabancı Tavanlar 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: Batuhan KordelMusic: Batuhan KordelArrangement: Efe Demiryoğuran
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