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)
Tarık Tırıl - Yastığından Armağan - Devrim Özkan - Chord
Key Bb major – G minor Chords Dm7, Cm7, Dm Easy key C
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Key: Bb | Gm
Capo: 0
Dm7 Cm7 Dm7
Korkum yok, sana darılmam
Cm7 Dm7
Ne varsa vur, ömrümden gitsin yorulmam
Dm7 Cm7
Bilirim nasıl olsa
Dm7
Sığmaz keder akla
Bilirim bu yol
Cm7
Çıkmaz ya sana
Cm7
Yastığından armağan
Dm7
Bu gece de mi buradasın
Cm7
Sanki yokluğun yalan
Dm7
Aklımdan çıkmazım
x2
Cm7 Dm Cm7 Dm7
Aaaa, aaaa, aaaa, aaaa
Cm7
Çoktan beri yoksun sarılamam tenine
Dm7
Öyle olsun canım gönlüne göre de
Cm7
Sen bana bakma kazıdım en içime
Dm7 Cm7 Dm7
Çıkaramam öyle canım direne direne
Cm7
Yastığından armağan
Dm7
Bu gece de mi buradasın
Cm7
Sanki yokluğun yalan
Dm7
Aklımdan çıkmazım
x2
End of song Play again?
Tarık Tırıl - Yastığından Armağan - Devrim Özkan Tabs
NotesX
Harmony analysis
Tarık Tırıl – Yastığından Armağan - Devrim Özkan: key and chord analysis
The song opens on Dm7 and ends on Dm7. 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: we can't honestly pick a side here — the song moves freely between Bb major and G minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 13× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 13× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 1× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | — |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 13× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 13× |
| v | Dm | Minor dominant — soft pull | D · F · A | 1× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | — |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 3 different chords appear 27 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dm, land on D, F, A — 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
Starting on Dm7, the song gives away its key from the very first bar. Dm7, Cm7, Dm carry the song: iii7–ii7–iii relative to Bb, v7–iv7–v relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Dm7, 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.
Tarık Tırıl - Yastığından Armağan - Devrim Özkan 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: Tarık TırılMusic: Tarık Tırıl
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