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)
Aysel Yakupoğlu - Biçare - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Abm, B, Gb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Abm
Ne geçti eline ne söyle
B Bbm
Ömrümüzden ömür gitti
Ebm Bbm
Kor düşürdün yüreğime
Abm Gb
Bu bedenim alevlendi
Ebm Abm
Ayrılık ne çareydi de
B Bbm
Benim aşkım biçareydi
Ebm Bbm
Sana bir çift sözüm var da
Abm Gb
Boğazıma düğümlendi
Ebm Bbm
Sana bir çift sözüm var da
B Gb
Boğazıma düğümlendi
Ebm Bbm
Hala seni bekliyorum
Ebm
Yalan değil özlüyorum
B Bbm
Lakin şu da bir gerçek ki
Abm Bbm
Ben imkansızı seçiyorum
Ebm Abm
Öyle böyle değil sedan
B Bbm
Anlamadın vefasız yar
Ebm Bbm
Dört bir yanım senle dolu
Abm Gb
Yoksan buralar bana dar
Ebm Abm
Her haline her tavrına
B Bbm
Hayrandım ben be zalim yar
Ebm Bbm
Ne gelirse senden gelsin
Abm Gb
Bu yürek zaten tarumar
Ebm Bbm
Ne gelirse senden gelsin
B Gb
Bu yürek zaten tarumar
End of song Play again?
Aysel Yakupoğlu - Biçare Tabs
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Harmony analysis
Aysel Yakupoğlu – Biçare: key and chord analysis
The song opens on Ebm and ends on Gb. 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 comes to rest on Gb, it opens on Ebm and Ebm is heard 12 times against 6 for Gb. 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 | Gb | Tonic — home | Gb · Bb · Db | 6× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 9× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 13× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 7× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 12× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 12× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 6× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 9× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 13× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 7× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 47 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×6
- B Gb GbIV → Iplagal cadence EbmVI → III ×2
The move to watch is Bbm → Ebm, heard 6 times. From the Gb side it reads iii → vi; from the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — 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
Starting on Ebm, the song gives away its key from the very first bar. The chords that keep coming back are Bbm, Ebm, Abm, B; read them as iii–vi–ii–IV in Gb or v–i–iv–VI in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. Ending on Gb, 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.
Aysel Yakupoğlu - Biçare 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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