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)
Ebru Yaşar - Vay Be - Chord
Key Bb major – G minor Chords Ebmaj7, Dm7, Cm7, Gm Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7
Kırgın mıyım sana, kızgın mıyım asla?
Cm7 Dm7
Aman canım sende, lafımı olur aramızda
Ebmaj7
Kaç senedir beraber
Bir gün iyi üç gün beter
Cm7 Dm7
Çekip gitmeyi sen denemiştin daha evvel
Ebmaj7
Aydım, aydım uyanarak
Yerimi senin yanan sanarak
Dm7
Oysa misafir olarak
Geçmiş bitmiş yıllarım
Gm
Vay be, bunu da mı görecektim ama
Dm7
Canın sağ olsun kalben
Seninleyim ama
Cm7
Gözüm uzun yolda haberin olsun
Ebmaj7
Vay be
Ebmaj7
İnsanoğlu bir defa düşünce ayrılığa
Cm7 Dm7
Belki ölmez ama yarar mı başkasına
Ebmaj7
Biz seninle beraber
Bir gün iyi üç gün beter
Cm7 Dm7
Çekip gitmeyi sen denemiştin daha evvel
Ebmaj7
Aydım, aydım uyanarak
Yerimi senin yanan sanarak
Dm7
Oysa misafir olarak
Geçmiş bitmiş yıllarım
Gm
Vay be, bunu da mı görecektim ama
Dm7
Canın sağ olsun kalben
Seninleyim ama
Cm7
Gözüm uzun yolda haberin olsun
Ebmaj7
Vay be
End of song Play again?
Ebru Yaşar - Vay Be Tabs
NotesX
Harmony analysis
Ebru Yaşar – Vay Be: key and chord analysis
The song opens on Ebmaj7 and ends on Ebmaj7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
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 Gm is heard 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Bb | Tonic — home | Bb · D · F | — |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 6× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 8× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 8× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 2× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 2× |
| 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 | 6× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 8× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 8× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 24 times in total; 4 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
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×2
The move to watch is Dm7 → Gm, heard 2 times. From the Gm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → 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 Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Ebmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Ebmaj7, Dm7, Cm7, Gm; read them as IVmaj7–iii7–ii7–vi in Bb or VImaj7–v7–iv7–i in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm7 → Gm (iii7 → vi in Bb, v7 → i in Gm): natural-minor cadence — gentle, modal arrival. Ending on Ebmaj7, the song seals Bb 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.
Ebru Yaşar - Vay Be 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: GüldenMusic: GüldenArrangement: Ozan Bayraşa
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