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)
Pilli Bebek - Berrak - Chord
Key Gb major – Eb minor Chords F#, C#, D#m, A#m, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
F# C# D#m A#m
Berrak sudaki kırmızı balık
B F# C#
Sana canım demek için
F# C# D#m A#m
Canımdan bir parça ve ışıksız gecelerin
B F# C#
Sessiz özgürlüklerini verdim
F# C# D#m F#
Dışı sevda içi zindan değilim artık
F# C# B F#
Dışı sevda içi zindan değilim artık
F# C# B F#
Gözlerimden süzen güvensizliği kuşkuyu
C# D#m A#m
Hiç bu renk bir sevgiyle yenmedim
D#m A#m D#m A#m
Ve güzelim sana sunduğum değerleri
B F# C#
Karşılıkların içinde büyütmedim
End of song Play again?
Pilli Bebek - Berrak Tabs
NotesX
Harmony analysis
Pilli Bebek – Berrak: key and chord analysis
The song opens on F# and ends on C#. 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 Gb major side because it opens on Gb and Gb is heard 11 times against 6 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
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# | 11× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| iii | A#m | Mediant — a tonic-family shade | A# · C# · E# | 5× |
| 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# | 5× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 9× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 6× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 6× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | F# | Relative major — the bright side | F# · A# · C# | 11× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| v | A#m | Minor dominant — soft pull | A# · C# · E# | 5× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 5× |
| 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). 5 different chords appear 36 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
- B F# GbIV → Iplagal cadence EbmVI → III ×5
- C# D#m GbV → videceptive cadence EbmVII → iAeolian arrival ×4
- C# F# GbV → Iauthentic cadence EbmVII → III ×2
- A#m D#m Gbiii → vi Ebmv → inatural-minor cadence ×2
The move to watch is B → F#, heard 5 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 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.
- Over D#m, land on D#, F#, A# — 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 F#; the ear learns where home is within a second. The backbone is F#, C#, D#m, A#m — I–V–vi–iii from the Gb side, III–VII–i–v from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → F# (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. The final chord is C#; 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.
Pilli Bebek - Berrak 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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