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)
Tuna Kiremitçi - Sana Dair (Gonca Vuslateri) - Chord
Key Gb major – Eb minor Chords D#m, A#m, F#, G#m, C#, B Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
D#m G#m
Yaşam kadar gerçek, yaşamak gibi sahte
B D#m
Öyle çok şey var ki yaralayan insanı
F# G#m
Bir yürek çarpıntısı, onu her gördüğünde
C# F#
Öyle çok şey var ki bak sana dair
A#m D#m
Yanlış aşklar yaşadık, yanlış köprülerde
A#m D#m
Yanlış gemiler yakıp aldırmadan
A#m D#m
İki damla su çaldık zamanın pençesinden
C# A#m
Aldırmadan, aldırmadan
F#
Bu ne senden ilk kaçışım
A#m
Ne de ilk düşüşün yüreğime
B
Ne bu serden son geçişim
F#
Ne de son küsüşüm kaderime
D#m G#m
Mucize gerek bize, gidecek bir başka düş
B D#m
Bir düş ki korkmamış zamanın karşısında
F# G#m
Ve bir çağ gerek bize, ve bir çağ bundan özgür
C# F#
Öyle çok şey var ki bak sana dair
A#m D#m A#m
Sonra kuşlar gitti anladık dünya yorgun, sen yorgun
D#m
Tortusu kalmış eski bir korkunun
A#m D#m
Görmedik, duymadık, demedik onlar kötü
C# A#m
Biz var mıydık, aşk var mıydı
End of song Play again?
Tuna Kiremitçi - Sana Dair (Gonca Vuslateri) Tabs
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Harmony analysis
Tuna Kiremitçi – Sana Dair (Gonca Vuslateri): key and chord analysis
The song opens on D#m and ends on A#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 10 times against 6 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# | 6× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 4× |
| iii | A#m | Mediant — a tonic-family shade | A# · C# · E# | 9× |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 3× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 4× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 10× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 10× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 6× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 4× |
| v | A#m | Minor dominant — soft pull | A# · C# · E# | 9× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 3× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 4× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 36 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
- A#m D#m Gbiii → vi Ebmv → inatural-minor cadence ×6
- C# F# GbV → Iauthentic cadence EbmVII → III ×2
- B D#m GbIV → vi EbmVI → iVI → i ×2
- G#m C# Gbii → Vii → V Ebmiv → VII ×2
- B F# GbIV → Iplagal cadence EbmVI → III ×1
The move to watch is A#m → D#m, heard 6 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 D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- Over A#m, land on A#, C#, E# — 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.
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 D#m; the ear learns where home is within a second. D#m, A#m, F#, G#m carry the song: vi–iii–I–ii relative to Gb, i–v–III–iv relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A#m → D#m (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is A#m; the ear comes to rest in Gb.
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.
Tuna Kiremitçi - Sana Dair (Gonca Vuslateri) 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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