Sıla - Bırak - Chord

Key Bb major – G minor Chords F, Gm, Eb, Cm7, Dm Easy key G (capo 3)

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Capo 0

          Gm
Duyuyor musun adımlarını
            F     Eb         Gm
Uykuma saplıyor gece mahmuzlarını
         Gm
Uyuyor musun uyan diyor
          F     Eb          Gm
Hafife alıyor gece kanatlarımı

F           Cm7          F           Eb       Gm
Sapı mercan kanlı hançer anadan üryan yatırır mermer
F             Cm7    
Şah damarda ihtimaller 
Dm          Cm7     Gm     F
Öl de ölmem uyandır beni rüyadan

Dm      Eb        F      Dm 
Savurma fırtınamda halime bırak
      Eb          Cm7
Eyleme beni benden ötelere at
Dm     Eb       F       Dm
Dilenme nefesimi hevesim kırık
      Eb          Cm7
Eyleme beni benden öteye bırak

        Gm
Tam ensemde savaş gibi
         F    Eb        Gm
Niye o kadar uzun ölelim ki

F           Cm7          F           Eb       Gm
Sapı mercan kanlı hançer anadan üryan yatırır mermer
F             Cm7    
Şah damarda ihtimaller 
Dm          Cm7     Gm     F
Öl de ölmem uyandır beni rüyadan

          Gm
Biliyor musun zemheri gece
          F       Eb            Gm
Seni aldattım defalarca gündüzlerle ödeştik

End of song Play again?

Sıla - Bırak Tabs

NotesX

Harmony analysis

Sıla – Bırak: key and chord analysis

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

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it both starts and finishes on Gm and Gm is heard 12 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	8×
iii	Dm	Mediant — a tonic-family shade	D · F · A	6×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	10×
V	F	Dominant — strongest pull home	F · A · C	14×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	12×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	12×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	8×
v	Dm	Minor dominant — soft pull	D · F · A	6×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	10×
VII	F	Subtonic — steps back to the tonic	F · A · C	14×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 50 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

Eb Gm BbIV → vi GmVI → iVI → i ×6
Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×3
Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×2
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×1

The move to watch is Eb → Gm, heard 6 times. From the Gm side it is VI → i (VI → i: falls a half step into home); from the Bb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are F, Gm, Eb, Cm7; read them as V–vi–IV–ii7 in Bb or VII–i–VI–iv7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Gm (IV → vi in Bb, VI → i in Gm): VI → i — falls a half step into home. The final chord is Gm; the ear comes to rest in Gm.

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.