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)
Bertuğ Cemil - Yağmur - Chord
Key Gb major – Eb minor Chords B, F#, C#, A#m, G#m, D#m, G# Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
D#m C# B A#m G#m C# B B F# Küçük hesaplarla geçiyor yaşam, B F# Büyük kavgalar küçük şeyler için, B F# Arsız ayaklar altında alın teri G#m C# F# Kırılgan naif elleri B F# Yalanlar yalanlar yalanlar B F# Bulutların ardındaki güneş gibi gerçek B F# Sevilmeye muhtaçken kimileri, A#m G#m B Kirli avuçlara düşüverecek D#m C# B A#m Yağmur yağmur yağmur yağmur G#m C# F# A#m Geri verecek buharlaşan sevgimizi D#m C# B A#m Yağmur yağmur yağmur yağmur G#m C# D#m Sessizce silecek kibirimizi B F# Vadide akmayı öğrendi nehrimiz B F# Kaskatı insanların arasında B F# Sevincin resmi olacak doğa bir gün A#m G#m B Biz genişleyip denize varınca C# G# B F# Bazen tutkudan delirince kapanmalı kendine C# G# B A#m Yağmurun kucağında doymalı sessizliğe
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Bertuğ Cemil - Yağmur Tabs
NotesX
Harmony analysis
Bertuğ Cemil – Yağmur: 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: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor because it opens on Ebm and Gb is heard 12 times against 4 for Ebm. Try reading the chords both ways and see which feels more like home to you.
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# | 12× |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 6× |
| V/V | G# | Secondary dominant V/V — leads to C#secondary dominant | G# · B# · D# | 2× |
| iii | A#m | Mediant — a tonic-family shade | A# · C# · E# | 7× |
| 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# | 17× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 9× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 4× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 4× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 12× |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 6× |
| IV | G# | Major IV — Dorian / melodic-minor colourmodal colour | G# · B# · D# | 2× |
| v | A#m | Minor dominant — soft pull | A# · C# · E# | 7× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 17× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 9× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 57 times in total; 6 of them sit naturally inside the shared scale. G# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B F# GbIV → Iplagal cadence EbmVI → III ×10
- G#m C# Gbii → Vii → V Ebmiv → VII ×4
- C# F# GbV → Iauthentic cadence EbmVII → III ×2
- C# D#m GbV → videceptive cadence EbmVII → iAeolian arrival ×1
- B D#m GbIV → vi EbmVI → iVI → i ×1
- A#m D#m Gbiii → vi Ebmv → inatural-minor cadence ×1
The move to watch is B → F#, heard 10 times. From the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Ebm side it is VI → III. 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 B, land on B, D#, F# — 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 C#, land on C#, E#, G# — 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
Starting on D#m, the song gives away its key from the very first bar. The chords that keep coming back are B, F#, C#, A#m; read them as IV–I–V–iii in Gb or VI–III–VII–v in Ebm. G# adds a moment of surprise: secondary dominant V/V — leads to C#. Keep an ear on B → F# (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. It closes on A#m, letting the Gb 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.
Bertuğ Cemil - Yağmur 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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