Yaşlı Amca - İstanbul Beyefendisi - Chord

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

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Capo 0

Ebm
İlk bakışta aşk mı olur
Abm    Bbm  Ebm
Yoktur öyle şey

Kandırıldım a dostlar 
Abm    A    Ebm
Varmış öyle şey
  Abm   Bb    Ebm
Gelin görün halimi

Bbm   Ab     Bb        Ebm
Eskilerim sarhoşluk eseri
    Bbm   Ab    A          Ebm
Ama hanfendi sarhoşluk sebebi
 
   Abm                    Bb
Ve onla bakıştıktan sonra ben kesildim
Bbm  Bb  Ebm
Ne Roma, ne Londra
Bb            Ebm
Ne Madrid, ne Viyana

Ebm
Bir İstanbul beyefendisi gibi
    Bb
Bir İstanbul beyefendisi
Ebm
Agresif ama oldukça nazik
    Bb
Bir İstanbul beyefendisi
Ebm
Ve paylaşmıyor sevgisini
    Bb
Bir İstanbul beyefendisi
   Ebm
Ve centilmenlik akıyor her yanımdan
Bb
Bu aşkın hanfendisi

Ebm
Gamzesiz gülümsüyor
   Abm   Bb    Ebm
Ki bence çok güzel
   Abm   A     Ebm
Ki bence çok güzel
Abm  Bb   Ebm
Yıllara bedel
Abm  A    Ebm
Yıllara bedel


Abm    Db     Ebm
Diğerleri  yalnızlık eseri
    Abm   Db    Ebm
Ama hanfendi yalnızlık sebebi

   Abm                    Bb
Ve onla bakıştıktan sonra ben kesildim
Bbm  Bb  Ebm
Ne Roma, ne Londra
Bb            Ebm
Ne Madrid, ne Viyana

Ebm
Bir İstanbul beyefendisi gibi
    Bb
Bir İstanbul beyefendisi
Ebm
Agresif ama oldukça nazik
    Bb
Bir İstanbul beyefendisi
Ebm
Ve paylaşmıyor sevgisini
    Bb
Bir İstanbul beyefendisi
   Ebm
Ve centilmenlik akıyor her yanımdan
Bb
Bu aşkın hanfendisi

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Yaşlı Amca - İstanbul Beyefendisi Tabs

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Harmony analysis

Yaşlı Amca – İstanbul Beyefendisi : key and chord analysis

The song opens on Ebm and ends on Bb. 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)
#7 = D (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because it opens on Ebm, Ebm is heard 25 times while Gb never appears and the major V chord points straight at Ebm. 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	11×
V/V	Ab	Secondary dominant V/V — leads to Dbsecondary dominant	Ab · C · Eb	2×
bIII	A	Borrowed from the parallel minorborrowed chord	A · C# · E	4×
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	18×
IV	Cb	Subdominant — moves away from home	Cb · Eb · Gb	—
V	Db	Dominant — strongest pull home	Db · F · Ab	2×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	25×
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	25×
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	11×
IV	Ab	Major IV — Dorian / melodic-minor colourmodal colour	Ab · C · Eb	2×
#IV	A	Chromatic colour chordoutside the key	A · C# · E	4×
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	18×
VI	Cb	Submediant — warm colour	Cb · Eb · Gb	—
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	2×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 67 times in total; 4 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb is V/vi, a secondary dominant heading for Ebm. Ab acts as a secondary dominant, briefly pointing at another chord of the key. A is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×15
Abm Bb Gbii → V/vi Ebmiv → Viv → V ×5
Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×2
Abm Db Gbii → Vii → V Ebmiv → VII ×2
Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1

The move to watch is Bb → Ebm, heard 15 times. From the Ebm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, 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.
When Bb comes, swap the scale's Db for D: that single note is the harmonic-minor sound of the chord.
On A, follow the chord's notes (A · C# · E) rather than the key's scale — it's a borrowed colour.

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 Ebm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Bb, Abm, Bbm; read them as vi–V/vi–ii–iii in Gb or i–V–iv–v in Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → Ebm (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bb; 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.