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)
Bahadır Tatlıöz - Beni Yak - Chord
Key Gb major – Eb minor Chords Bbm, Abm, Ebm, B, Db, Gb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
B Ebm
Bir tek sen ağlarsın, ardımdan
Abm Bbm Db
Annemden sonra ardımdan, bir tek sen ağlarsın
B Abm
En çok sen seversin, canından, kendinden bile
Bbm Db
Yeri gelir sakınır da saklarsın
B Bbm Ebm Db
Hırçınlığım sana değil, kızgınlığım kendime
Abm Bbm Ebm
Alışkın değilim, ne sevmeye ne de sevilmeye
Abm Bbm Ebm Db B
İstanbul'un kokusu gibi, sinmişsin üstüme
Abm Bbm Ebm
Benim derdim içimdeki kendimle
Ebm Bbm Abm Bbm
Beni al ateşe at canım yanmaz, yeter ki sen yak
Ebm Bbm B
Bu nasıl bir hal bana sorma
Abm Db Gb B
Beni al yanına kat, bu can teslim sana
Bbm Abm Ebm
Bak hazırım bir ömür yanmaya
B Abm
En çok sen seversin, canından, kendinden bile
Bbm Db
Yeri gelir sakınır da saklarsın
End of song Play again?
Bahadır Tatlıöz - Beni Yak Tabs
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Harmony analysis
Bahadır Tatlıöz – Beni Yak: key and chord analysis
The song opens on B and ends on Db. 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 Ebm is heard 8 times against 1 for Gb. 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 | 1× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 9× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 11× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 7× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 6× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 8× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 8× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 1× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 9× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 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# | 7× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 6× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 42 times in total; 6 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×5
- Db Gb GbV → Iauthentic cadence EbmVII → III ×1
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×1
- B Ebm GbIV → vi EbmVI → iVI → i ×1
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
The move to watch is Bbm → Ebm, heard 5 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → vi. 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is B; the ear learns where home is within a second. The chords that keep coming back are Bbm, Abm, Ebm, B; read them as iii–ii–vi–IV in Gb or v–iv–i–VI in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. Ending on Db, 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.
Bahadır Tatlıöz - Beni Yak 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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