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)
Ayten Rasul - Sarıl Bana - Chord
Key Gb major – Eb minor Chords Bbm, Abm, B, Db, Ebm, Dbm Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Bbm B Abm Bbm
Ebm Abm
Beyaz bulutlar geçiyor üstümüzden
B Db
Yaşayan her şey sende çiçek açmış
Ebm Abm
Boşuna beklememişim bunca zaman
Db Bbm
Yaşadığım her şeyin bir nedeni varmış
Ebm Bbm
Beklemediğim bir anda girdin hayatıma
Abm Dbm Bbm
Sana sarıldığım gibi sarıl bana
Bbm
Sen geldin bahar geldi
Abm
Bundan sonra kalbim de senin için çarpacak
B
Gözlerinle uyanıp sensiz geçen yılların
Db Abm Bbm
Acısını çıkaracak
Bbm
Bana sensiz içtiğim su bile yalan şimdi
Abm
Sen deli ben sana deli
B
Beni yalnız bırakma sen bile bilemezsin
Db Abm Bbm
Ne kadar tutkunum sana
End of song Play again?
Ayten Rasul - Sarıl Bana Tabs
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Harmony analysis
Ayten Rasul – Sarıl Bana: 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.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 9× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 4× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 4× |
| v | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 1× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 3× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| 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 | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 9× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 4× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 4× |
| vii | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 1× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 29 times in total; 5 of them sit naturally inside the shared scale. Dbm step outside the scale as colour chords.
Chord movement
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×3
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×1
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
The move to watch is B → Db, heard 3 times. From the Ebm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Gb side it reads IV → V (IV → V: the lift that builds tension before home). 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 Abm, land on Ab, Cb, Eb — 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.
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
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. The backbone is Bbm, Abm, B, Db — iii–ii–IV–V from the Gb side, v–iv–VI–VII from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Db (IV → V in Gb, VI → VII in Ebm): VI → VII — the rising step that heads for the tonic. Ending on Bbm, the song seals Gb 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.
Ayten Rasul - Sarıl Bana 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: Ferhat GöçerMusic: Ferhat Göçer
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