Teoman - Yazgı - Chord

Key Gb major – Eb minor Chords D#m, C#, B Easy key G

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Capo 0

D#m                             B        C#       D#m 
Sil severek gözleri dilsiz ellerinle sarmala sar beni
D#m                                B         C#        D#m 
Korkusuz isteğin bağırsın ölmemiş sevgiler arasına koy beni

          B    C#    D#m  
Aslında yok çaresi bilirim 
         B     C#   D#m  
Canlar verir soğuk nefesim
        B    C#    D#m  
Aslında yok çaresi sevginin
      B   C#    D#m  
Kabaran serin teninin

D#m      C#        B      C#       D#m
Yollara yıllara yazgımı yazdım yanında

D#m                           B         C#   D#m    
Hep uzaksa herbiri kavrayıp bıraktıysan hep beni
D#m                              B         C#      D#m 
Görünmem duvarlar inince yine de sen hep dokun gör beni

End of song Play again?

Teoman - Yazgı Tabs

NotesX

Harmony analysis

Teoman – Yazgı: key and chord analysis

The song opens on D#m and ends on D#m. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

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)

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 14 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.

Seen from Gb major
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 D#msecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	9×
V	C#	Dominant — strongest pull home	C# · E# · G#	10×
vi	D#m	Relative minor — the melancholy side	D# · F# · A#	14×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	D#m	Tonic — home	D# · F# · A#	14×
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#	9×
VII	C#	Subtonic — steps back to the tonic	C# · E# · G#	10×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 33 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

C# D#m GbV → videceptive cadence EbmVII → iAeolian arrival ×9
B C# GbIV → VIV → V EbmVI → VIIVI → VII ×9

The move to watch is C# → D#m, heard 9 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 D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
Over C#, land on C#, E#, G# — 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 first chord is D#m; the ear learns where home is within a second. The chords that keep coming back are D#m, C#, B; read them as vi–V–IV in Gb or i–VII–VI in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → D#m (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. It closes on D#m, letting the Ebm 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.