Sıla - Ağırbaşlı Serseri - Chord

Key Db major – Bb minor Chords Bbm, Gb, Ab, Fm, Ebm, Db, Bb7, Dbmaj7 … Easy key G (capo 6)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Bbm  Ab  Fm  Bbm  Ab  Gb  Gb  Fm  Gb  Ab  Bbm

Bbm
 Yazdım, oturdum bütün gece
Gb
 Yaptım, karanlıktan heykeller
Ebm   Fm
 İçtim, kızılcık kan kusup
Gb   Ab       Gb    Bbm  Gb
 Sıla tut ellerimi

Bbm
 Sensiz, gecem deli gömleği
Gb
 Hepten, usulca fısıldadım
Ebm     Fm
 Pesten, nihayet sana küstüm
Gb    Ab    Bbm
 Sevmedin yerini

      Bbm          Ebm
Odalarda saklandım çok
     Fm         Ebm       Bbm
Duvarlara bağır çağır ağladım çok
        Db        Fm
Düğüm düğüm çok üzgünüm
Ab     Ebm    Gb        Bbm
Uykularda özledim uyandım yok

Bb7     Ebm
 Beni tanırsın
Ab         Dbmaj7
 Ağırbaşlı serseri
Gbmaj7    Cdim
 Kendim dururken
    F7       Bbm
 Üzmem kimseleri
x2

End of song Play again?

Sıla - Ağırbaşlı Serseri Tabs

NotesX

Harmony analysis

Sıla – Ağırbaşlı Serseri: 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.

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)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (harmonic-minor leading tone from the V chord)

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, Bbm is heard 11 times against 2 for Db and the major V chord points straight at Bbm. 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	1×
Imaj7	Dbmaj7	Tonic — home	Db · F · Ab · C	1×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	6×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	6×
V7/vi	F7	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · Eb	1×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	10×
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	1×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	7×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	11×
V7/ii	Bb7	Secondary dominant V/ii — leads to Ebmsecondary dominant	Bb · D · F · Ab	1×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	11×
V7/iv	Bb7	Secondary dominant V/iv — leads to Ebmsecondary dominant	Bb · D · F · Ab	1×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	1×
III	Db	Relative major — the bright side	Db · F · Ab	1×
IIImaj7	Dbmaj7	Relative major — the bright side	Db · F · Ab · C	1×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	6×
v	Fm	Minor dominant — soft pull	F · Ab · C	6×
V7	F7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · Eb	1×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	10×
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	1×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	7×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 11 different chords appear 46 times in total; 9 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 is V7/vi, a secondary dominant heading for Bbm. Bb7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×3
Gb Bbm DbIV → vi BbmVI → iVI → i ×3
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
Ab Dbmaj7 DbV → Imaj7authentic cadence BbmVII → IIImaj7 ×1
F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×1
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1

The move to watch is Gb → Ab, heard 3 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). 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 Gb, land on Gb, Bb, Db — 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.
When F7 comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

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 chords that keep coming back are Bbm, Gb, Ab, Fm; read them as vi–IV–V–iii in Db or i–VI–VII–v in Bbm. Bb7 is the interesting twist: in Db it is a chromatic chord (V7/ii), while in Bbm it becomes the dominant (V7/iv) that makes the minor side sound so determined. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. It closes on Bbm, letting the Bbm 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.