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)
Erkan Oğur - Karşıda Görünen Ne Güzel Yayla - Chord
Key Db major – Bb minor Chords Ebm, Bbm, Db, Ab, Gb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ebm Ab Db Ebm Ebm Db Gb Bbm
Bbm Ebm Ab Db Ebm
Karşıdan görünen hey dost ne güzel yayla
Db Gb Bbm
Bir dem süremedim vallah giderim böyle
Bbm Ebm Ab Db Ebm
Ala gözlü pirim pirim sen himmet eyle
Db Gb Bbm
Ben de bu yayladan hey dost şaha giderim
Bbm Ebm Ab Db Ebm Ebm Db Gb Bbm
Bbm Ebm Ab Db Ebm
Eğer göğerüben hey dost bostan olursam
Db Gb Bbm
Şu halkın diline hey dost destan olursam
Bbm Ebm Ab Db Ebm
Kara toprak senden senden üstün olursam
Db Gb Bbm
Ben de bu yayladan hey dost şaha giderim
Bbm Ebm Ab Db Ebm Ebm Db Gb Bbm
Bbm Ebm Ab Db Ebm
Alınmış abdestim hey dost aldırırlarsa
Db Gb Bbm
Kılınmış namazım hey dost kıldırırlarsa
Bbm Ebm Ab Db Ebm
Sizde şah diyeni hey dost öldürürlerse
Db Gb Bbm
Ben de bu yayladan hey dost şaha giderim
Bbm Ebm Ab Db Ebm
Pir sultan abdal'ım hey dost dünya durulmaz
Db Gb Bbm
Gitti giden ömür ömür geri dönülmez
Bbm Ebm Ab Db Ebm
Gözlerimde şah yolundan ayrılmaz
Db Gb Bbm
Ben de bu yayladan hey dost şaha giderim
End of song Play again?
Erkan Oğur - Karşıda Görünen Ne Güzel Yayla Tabs
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Harmony analysis
Erkan Oğur – Karşıda Görünen Ne Güzel Yayla: 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.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
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. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | 22× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 25× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 11× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 11× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 22× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 22× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 22× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 25× |
| 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 | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 11× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 11× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 91 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
- Ab Db DbV → Iauthentic cadence BbmVII → III ×11
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×11
- Gb Bbm DbIV → vi BbmVI → iVI → i ×11
The move to watch is Ab → Db, heard 11 times. From the Bbm side it is VII → III; from the Db side it reads V → I (authentic cadence: the strongest arrival home). 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. Ebm, Bbm, Db, Ab carry the song: ii–vi–I–V relative to Db, iv–i–III–VII relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Db (V → I in Db, VII → III in Bbm): authentic cadence — the strongest arrival home. It closes on Bbm, letting the Bbm side have the last word.
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.
Erkan Oğur - Karşıda Görünen Ne Güzel Yayla 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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Lyrics: Pir Sultan AbdalMusic: Anonim
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