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)
Yüzyüzeyken Konuşuruz - Ellilik Banknotlar - Chord
Key Gb major – Eb minor Chords F#, A#m, B, G#m Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
F# Ben çok zamandır kayboldum A#m B F# Bir gülüşün düşün peşinde A#m Sen nerdeysen gel bul beni B G#m F# Düşler için gülüşler içinde F# Uzun yollardan kim gelsin A#m B F# Koşsun, çok yorulsun, dinlensin A#m Düşmezse nasıl kirlensin B G#m F# Üstü başı tozlar içinde F# Sanki her şey çok kolaydı A#m B F# Üç yıl güldü sonra bıraktı A#m Zorla kurduğum hayatı B G#m F# Yıktı üç dakika içinde F# Bir kaybeden yok derken ben A#m B F# Öldüm Pazar günü erkenden A#m Markette sıra beklerken B G#m F# Ellilik banknotlar içinde F# Duvarlar aştım, yanaştım A#m B F# En sonunda sana ulaştım A#m Çok güzeller sevdim ama B G#m F# Aklım fikrim senin peşinde A#m Sen nerdeysen gel bul beni B G#m F# Düşler için gülüşler içinde
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Yüzyüzeyken Konuşuruz - Ellilik Banknotlar Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Ellilik Banknotlar: key and chord analysis
The song opens on F# and ends on F#. 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 it both starts and finishes on Gb and Gb is heard 16 times while Ebm never appears. 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 | F# | Tonic — home | F# · A# · C# | 16× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 6× |
| iii | A#m | Mediant — a tonic-family shade | A# · C# · E# | 11× |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 11× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | — |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | — |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 16× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 6× |
| v | A#m | Minor dominant — soft pull | A# · C# · E# | 11× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 11× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 44 times in total; 4 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
- B F# GbIV → Iplagal cadence EbmVI → III ×5
The move to watch is B → F#, heard 5 times. From the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Ebm side it is VI → III. 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 F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over A#m, land on A#, C#, E# — 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
- 1 semitone up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on F#, the song gives away its key from the very first bar. F#, A#m, B, G#m carry the song: I–iii–IV–ii relative to Gb, III–v–VI–iv relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → F# (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. Ending on F#, 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.
Yüzyüzeyken Konuşuruz - Ellilik Banknotlar 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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