Can Bonomo - Bardak Taşıyor - Chord

Key Db major – Bb minor Chords Bbm, Ebm, F, Eb, Db, C Easy key C (capo 1)

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Capo 0

Bbm
Bardak taşıyor aman
F                     Bbm
Çok yalnızım ah kahretsin
Bbm
Bir deli sevdalıyım
F                  Bbm
Allah sonumu hayretsin

Ebm         Bbm
Engeller büyür
     Ebm          Bbm
Yine bu kervan yürür
Ebm                 Bbm        F            Bbm
O gider ben kalırım arkasından hayallerim ölür

Ebm        Bbm
Akşamlar kara
     Ebm          Bbm
Aşkı sordum yollara
Ebm           Bbm          F         Bbm
Yazdım ismini kor alevlere ellerim yara

Bbm
Bardak taşıyor aman
F                 Bbm
Bıktım içime atmaktan
Bbm
Bardak taşıyor aman
F                    Bbm
Bu dans ateş ve baruttan

Bbm             Ebm
Dalga kıranlara tosladım ah
                  Bbm
Derinlere rastlamadan
Ebm             Bbm
Bardak taşıyor aman
F               Bbm
İdareten yaşamaktan

Ebm         Bbm
Engeller büyür
     Ebm          Bbm
Yine bu kervan yürür
Ebm                 Bbm        F            Bbm
O gider ben kalırım arkasından hayallerim ölür

Ebm        Bbm
Akşamlar kara
     Ebm          Bbm
Aşkı sordum yollara
Ebm           Bbm          F         Bbm
Yazdım ismini kor alevlere ellerim yara

Bbm                         Eb
Rüyalarımdan eder beni bu güneş
Bbm                         Eb
Umutlarımdan alev alev bir ateş
                    Db
Aldı aklımı gülmelerin hay Allah
C                     Bbm
Kırdı geçirdi sillelerin

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Can Bonomo - Bardak Taşıyor Tabs

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Harmony analysis

Can Bonomo – Bardak Taşıyor: key and chord analysis

The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm, Bbm is heard 31 times against 1 for Db and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	1×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	14×
II	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	2×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	9×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	—
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	31×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
V/iii	C	Secondary dominant V/iii — leads to Fmsecondary dominant	C · E · G	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	31×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
V/v	C	Secondary dominant V/v — leads to Fmsecondary dominant	C · E · G	1×
III	Db	Relative major — the bright side	Db · F · Ab	1×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	14×
IV	Eb	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb	2×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	9×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	—
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 58 times in total; 3 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×14
F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×9

The move to watch is Ebm → Bbm, heard 14 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on Bbm, the song gives away its key from the very first bar. The backbone is Bbm, Ebm, F, Eb — vi–ii–V/vi–II from the Db side, i–iv–V–IV from the Bbm side. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Ebm → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. The final chord is Bbm; the ear comes to rest in Bbm.

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.