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)
Yavuz Bingöl - Kara Tren - Chord
Key Gb major – Eb minor Chords Ebm, F#, G#m, C#, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm
Gözüm yolda gönlüm darda
F# G#m
Ya kendin gel ya da haber yolla
Ebm G#m F# C#
Duyarım yazmışsın iki satır mektup
F# C# B Ebm
Vermişsin trene halini unutup
G#m Ebm G#m Ebm
Kara tren gecikir belki hiç gelmez
G#m F# C#
Dağlarda salınır da derdimi bilmez
G#m F# C# Ebm
Dumanın savurur halimi görmez
F# C# B Ebm
Kan dolar yüreğim gözyaşım dinmez
Ebm
Yara bende derman sende
F# G#m
Ya kendin gel ya da bana gel de
End of song Play again?
Yavuz Bingöl - Kara Tren Tabs
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Harmony analysis
Yavuz Bingöl – Kara Tren: key and chord analysis
The song opens on Ebm and ends on G#m. 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 opens on Ebm and Ebm is heard 8 times against 7 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 | F# | Tonic — home | F# · A# · C# | 7× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 7× |
| 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# | 2× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 5× |
| 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 | F# | Relative major — the bright side | F# · A# · C# | 7× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 7× |
| 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# | 2× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 5× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 29 times in total; 5 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
- G#m Ebm Gbii → vi Ebmiv → iminor plagal ×3
- B Ebm GbIV → vi EbmVI → iVI → i ×2
- C# F# GbV → Iauthentic cadence EbmVII → III ×1
- C# Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×1
The move to watch is G#m → Ebm, heard 3 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over F#, land on F#, A#, C# — the chord's own tones always sound right on strong beats.
- Over G#m, land on G#, B, D# — 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 first chord is Ebm; the ear learns where home is within a second. Ebm, F#, G#m, C# carry the song: vi–I–ii–V relative to Gb, i–III–iv–VII relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G#m → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. Ending on G#m, 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.
Yavuz Bingöl - Kara Tren 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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