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)
Aura - Yuh - Chord
Key Gb major – Eb minor Chords Ebm, Db, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm B Db
x4
Ebm B Db
Tabi bende saftım
Ebm
Yine kendim gibi sandım
B Db
(Seni kendim gibi sandım)
Ebm B Db
Yok hiç kalmadı sabrım
Ebm
Yine aptal gibi kandım
B Db
(Sana aptal gibi kandım)
Ebm Db
Önce çok sevdi, deli gibi
Sonra bastı gitti el gibi
Ebm
Son sözü söyledi; "Hadi Eyvallah"
Ebm B Db
Yuhh! Sana gönülden inanana
Ebm B Db
Yuhh! Bi'sözüne bel bağlayana
Ebm B Db
Yuhh! Hevesine kapılana
Ebm B Db Ebm
Yuh ki ne yuhh! Yuh ki ne yuhh!
x2
Ebm
Bana lazım bir büyük kürek
Gömücem tüm anıları tek tek
Tell me baby var mı sende öyle
Kalıbına uygun cesur yürek!
Ebm
Baydı beni bu Lovebombing’ler (bom?)
Sağa sola kaydır boş tipler
Söz versem de sana gelemem
Kızlarım sahnede beni bekler! (yeah)
Ebm Db
Önce çok sevdi, deli gibi
Sonra bastı gitti el gibi
Ebm
Son sözü söyledi; "Hadi Eyvallah"
Ebm B Db
Yuhh! Sana gönülden inanana
Ebm B Db
Yuhh! Bi'sözüne bel bağlayana
Ebm B Db
Yuhh! Hevesine kapılana
Ebm B Db Ebm
Yuh ki ne yuhh! Yuh ki ne yuhh!
x2
Aura na na na na na na na Aura!
End of song Play again?
Aura - Yuh Tabs
NotesX
Harmony analysis
Aura – Yuh: key and chord analysis
The song opens on Ebm and ends on Ebm. 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 Eb minor side because it both starts and finishes on Ebm and Ebm is heard 21 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 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 | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 13× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 15× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 21× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 21× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 13× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 15× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 49 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
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×15
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×13
The move to watch is Db → Ebm, heard 15 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Ebm lays a solid floor for everything that follows. Ebm, Db, B carry the song: vi–V–IV relative to Gb, i–VII–VI relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. Ending on Ebm, the song seals Ebm 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.
Aura - Yuh 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: Anıl TiryakiMusic: Anıl Tiryaki
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