Emre Fel - Sallan - Chord

Key Db major – Bb minor Chords Eb, Bbm, Fm Easy key C (capo 1)

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Capo 0

Bbm  Fm  Eb  Eb

Bbm       Fm        Eb
Düştüm köhne viranlara
Bbm       Fm         Eb
Mecnunum, sırra yanaştım
Bbm       Fm          Eb
Seyyah oldum dolaştım da
Bbm       Fm           Eb
Mecburum, sen gördüm aşkı, anla

Bbm          Fm
Hadi sallana sallana gel
      Eb
Bu ne endamdır
                 Bbm
Yüreğinde bi’ yer ver bana
     Fm           Eb
Beni ser yoluna yarim

Beni senden alma

Bbm  Fm  Eb  Eb

Bbm       Fm        Eb
Düştüm köhne viranlara
Bbm       Fm         Eb
Mecnunum, sırra yanaştım
Bbm       Fm          Eb
Seyyah oldum dolaştım da
Bbm       Fm           Eb
Mecburum, sen gördüm aşkı, anla

Bbm          Fm
Hadi sallana sallana gel
      Eb
Bu ne endamdır
                 Bbm
Yüreğinde bi’ yer ver bana
     Fm           Eb
Beni ser yoluna yarim

Beni senden alma

Bbm          Fm
Hadi sallana sallana gel
      Eb
Bu ne endamdır
                 Bbm
Yüreğinde bi’ yer ver bana
     Fm           Eb
Beni ser yoluna yarim

Beni senden alma

End of song Play again?

Emre Fel - Sallan Tabs

NotesX

Harmony analysis

Emre Fel – Sallan: key and chord analysis

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

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 16 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
II	Eb	Chromatic colour chordoutside the key	Eb · G · Bb	18×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	16×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	—
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	16×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	16×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
IV	Eb	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb	18×
v	Fm	Minor dominant — soft pull	F · Ab · C	16×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	—
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	—

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 50 times in total; 2 of them sit naturally inside the shared scale. Eb 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

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Eb, land on Eb, G, Bb — 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 Fm, land on F, Ab, C — 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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

The opening Bbm lays a solid floor for everything that follows. Eb, Bbm, Fm carry the song: II–vi–iii relative to Db, IV–i–v relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Eb, the song seals Db 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.