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)
Soner Sarıkabadayı - Pir - Chord
Key Gb major – Eb minor Chords Ab, Bbm, Gb, Fm, Ebm Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm Ab Gb Ab
Bbm
Son gördüğün gibiyim
Ab
Hala acının dibiyim
Gb
Senle dünyalarım var
Ab
Sensiz hiçin biriyim
Bbm
Seni sevmenin Piriyim
Ab
Sönmüş yangın yeriyim
Gb
Varsan daha iyiyim
Ab
Yoksan kalbinin kiriyim
Bbm
Kendinden bıkıyor
Fm
Canımı çok sıkıyor
Ebm
Kapanan konular sana çıkıyor
Fm
Dönüp dönüp yine beni yakıyor
Gözümün içine bakıyor
Bbm Ab
Sen sen ol beni hiç arama
Gb
Tuz olup basma yarama
Ab
Bensiz hayal kur ama
Sen bensiz durama
End of song Play again?
Soner Sarıkabadayı - Pir Tabs
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Harmony analysis
Soner Sarıkabadayı – Pir: key and chord analysis
The song opens on Bbm and ends on Ab. 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 Gb major side because Gb is heard 4 times against 1 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
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 | 4× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| II | Ab | Chromatic colour chordoutside the key | Ab · C · Eb | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 5× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 1× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 1× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| ii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 4× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| IV | Ab | Major IV — Dorian / melodic-minor colourmodal colour | Ab · C · Eb | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 5× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 20 times in total; 3 of them sit naturally inside the shared scale. Ab, Fm step outside the scale as colour chords.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Ab, land on Ab, C, Eb — 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 Gb, land on Gb, Bb, Db — 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 down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. Ab, Bbm, Gb, Fm carry the song: II–iii–I–vii relative to Gb, IV–v–III–ii relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Ab, letting the Gb 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.
Soner Sarıkabadayı - Pir 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: Soner SarıkabadayıMusic: Soner SarıkabadayıArrangement: İlkay Şencan
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