Sıla - Velhasıl - Chord

Key Gb major – Eb minor Chords Bbm, B, Db, Abm, Ebm, C Easy key C (capo 6)

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Capo 0

Bbm  B  Bbm  Abm  Bbm  B  Bbm  Abm
Bbm  B  Bbm  Abm  Bbm  B  Db  B  Bbm

Bbm             Db       B
Takvime ekledim, sıkı tembihledim
Bbm             Db    B
Rüyalar gecenin failleri
Bbm             Db       B
Kaç kere yüzüstü bıraktı yıldızlar
Bbm             Abm    Bbm
Güneşin yalancı şahitleri

Bbm
Sürme badem gözlerinle
                         Ebm
Bi çalım attın, alacağın olsun
Bbm
Yoktu madem niyetin de
                Ebm
Bunu da yazdım, alacağım olsun

Bbm
Dağıldım, beni topla
           B
İki nokta, bi açıkla
Bbm
Karar ver, ya ayıpla
            B
Yüreğim taş, al ayıkla

Ebm   Db  B    Bbm
Yol boyu açar içim
Db    B     Bbm
Pembe zakkum gibi
Db    C    B     Bbm
Yok yere kaçar tenim
Db    B     Bbm
Sende mahkûm gibi

Bbm               Db      B
Hep seni bekledim, malum emeklerim
Bbm              Db      B
Sağ olsun mazinin kelekleri
Bbm               Db       B
Siftahı yok bunun, gözü de aç bunun
Bbm            Abm      Bbm
Velhasıl indirdim kepenkleri

End of song Play again?

Sıla - Velhasıl Tabs

NotesX

Harmony analysis

Sıla – Velhasıl: key and chord analysis

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

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)

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 3 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	5×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	26×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	17×
#IV	C	Chromatic colour chordoutside the key	C · E · G	1×
V	Db	Dominant — strongest pull home	Db · F · Ab	11×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	3×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	3×
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	5×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	26×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	17×
#VI	C	Chromatic colour chordoutside the key	C · E · G	1×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	11×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 63 times in total; 5 of them sit naturally inside the shared scale. C step outside the scale as colour chords.

Chord movement

Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1
B Ebm GbIV → vi EbmVI → iVI → i ×1

The move to watch is Bbm → Ebm, heard 2 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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

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

The song's harmonic story

Starting on Bbm, the song gives away its key from the very first bar. The chords that keep coming back are Bbm, B, Db, Abm; read them as iii–IV–V–ii in Gb or v–VI–VII–iv in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm; the ear comes to rest in Gb.

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.