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)
Tuana - Yok Bi Çare - Chord
Key Db major – Bb minor Chords Gb, Bbm, Ab Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ab Gb Gb
Bbm
Bugün inandım
Ab
Nefesim o tenine değmeden
Gb
Gülüşün gönlümü kül etmeden
Unutur muydum öyle aniden denesem
Bbm
Yarın inanmam
Ab
İçime sıkışıyor sevmeler
Gb
Canımdan edecek bu hayaller
Hesap soruyor gökte maviler bana
Bbm Ab
Yalnız kalınca insan uslanmaz
Gb
Bu şehre artık aldanmaz
Çelikti kalbim paslanmazdı güya
Bbm
Ne zor bi’ kalp aynı yerden iki kere
Ab
Kırılır mıydı söyle göre göre
Gb
Bir defa ölünce kollarında
Bi’ daha yaşasan da yok bir çare
x2
Bbm Ab Gb
Yok mu bir çare, bir çare
Bbm Ab Gb Gb
Bbm
Gözlerinde çözülmeyen bir düğüm
Ab
Söylesene yalanlara mı verdik ömrü
Gb
Dizlerinde anılarım var iki büklüm
Bbm
Ne zor bi’ kalp aynı yerden iki kere
Ab
Kırılır mıydı söyle göre göre
Gb
Bir defa ölünce kollarında
Bi’ daha yaşasan da yok bir çare
x2
Bbm Ab Gb
Yok mu bir çare, bir çare
End of song Play again?
Tuana - Yok Bi Çare Tabs
NotesX
Harmony analysis
Tuana – Yok Bi Çare: key and chord analysis
The song opens on Bbm and ends on Gb. 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 opens on Bbm and Bbm is heard 10 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 | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 12× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 10× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 10× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 10× |
| 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 | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 12× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 10× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 32 times in total; 3 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
- Gb Bbm DbIV → vi BbmVI → iVI → i ×9
The move to watch is Gb → Bbm, heard 9 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → vi. 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 Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- 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.
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 up
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The backbone is Gb, Bbm, Ab — IV–vi–V from the Db side, VI–i–VII from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. The final chord is Gb; the ear comes to rest in Db.
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.
Tuana - Yok Bi Çare 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: Tuana YılmazMusic: Tuana YılmazArrangement: Burak Bedirli
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