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)
Tarkan - Yolla - Chord
Key Gb major – Eb minor Chords Bbm, B, Db, Ebm, Abm Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Bbm Db B
Bi de baktım ki o da ne sürü sürü bi sürü çile
Bbm Db B
Toplanmış geliyorlar güle oynaya yönüme
Bbm Db B
Hani sözdü bundan böyle gülecektin yüzüme
Bbm Db B
Yazıklar olsun sana çelmeni taktın ya yine
Ebm B
Oooooooooof
Bbm
İçime içime ata ata pat diye patlayacağım valla
Ebm B
Oooooooooof
Bbm B Abm Bbm
Bu gidişle sonunda salacağım aklı çayıra
Bbm
Yolla yolla kaderim yolla acıları bana yolla
Db B
Ne de olsa dert babasıyım ya ben
Bbm
Vur ya lafımı olur vur ya düşene bi de sen vur ya
Db B
Ne de olsa sabır taşıyım ben
Bbm Db B
Bendeki de can insanım en nihayetinde
Bbm Db B
Tut çek elimden ümidim uçurumun eşiğinde
Ebm B
Oooooooooof
Bbm
İçime içime ata ata pat diye patlayacağım valla
Ebm B
Oooooooooof
Bbm B Abm Bbm
Bu gidişle sonunda salacağım aklı çayıra
Bbm
Yolla yolla kaderim yolla acıları bana yolla
Db B
Ne de olsa dert babasıyım ya ben
Bbm
Vur ya lafımı olur vur ya düşene bi de sen vur ya
Db B
Ne de olsa sabır taşıyım ben
Bbm
Ah benim şu bağrı yanık kalbim
Db B
Bi türlü gün yüzü göremedi
Bbm
Feleğin elinde oyuncak garibim
Db B
Bi türlü saadet ne bilemedi
Bbm
Yolla yolla kaderim yolla acıları bana yolla
Db B
Ne de olsa dert babasıyım ya ben
Bbm
Vur ya lafımı olur vur ya düşene bi de sen vur ya
Db B
Ne de olsa sabır taşıyım ben
End of song Play again?
Tarkan - Yolla Tabs
NotesX
Harmony analysis
Tarkan – Yolla: key and chord analysis
The song opens on Bbm and ends on B. 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 Eb minor side because Ebm is heard 4 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 2× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 20× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 20× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 14× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 4× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 4× |
| 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 | 2× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 20× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 20× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 14× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 60 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 Ebm GbIV → vi EbmVI → iVI → i ×2
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
The move to watch is B → Ebm, heard 2 times. From the Ebm side it is VI → i (VI → i: falls a half step into home); from the Gb side it reads IV → vi. 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — 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 Bbm, the song gives away its key from the very first bar. The backbone is Bbm, B, Db, Ebm — iii–IV–V–vi from the Gb side, v–VI–VII–i 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 → Ebm (IV → vi in Gb, VI → i in Ebm): VI → i — falls a half step into home. Ending on B, 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.
Tarkan - Yolla 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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