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)
HiraiZerdüş - Yar Gelsin - Chord
Key Db major – Bb minor Chords Fm, Eb, Bbm, Ab, Db Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Bbm Ab Eb Db Eb Fm Fm Gülmedim güldüremedim Bbm Talihi döndüremedim Ab Bu gönül yanar durur Eb Db Eb Fm Yangını söndüremedim, of Fm Yar gelsin, yarim gelsin Bbm Gelsin de, murada ersin Ab Yeter bu çektiklerim Eb Db Eb Fm Gönlüme bahar gelsin, of Fm Bbm Ab Eb Db Eb Fm Fm Son defa bu son defa Bbm Var ise biraz vefa Ab Dönersin can olursun Eb Db Eb Fm Bu derde sensin şifa, of Fm Yar gelsin, yarim gelsin Bbm Gelsin de, murada ersin Ab Yeter bu çektiklerim Eb Db Eb Fm Gönlüme bahar gelsin, of
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HiraiZerdüş - Yar Gelsin Tabs
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Harmony analysis
HiraiZerdüş – Yar Gelsin: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
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: we can't honestly pick a side here — the song moves freely between Db major and Bb minor. Try reading the chords both ways and see which feels more like home to you.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | 6× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| V/V | Eb | Secondary dominant V/V — leads to Absecondary dominant | Eb · G · Bb | 12× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 12× |
| 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 | 6× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 6× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 6× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 6× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| IV | Eb | Major IV — Dorian / melodic-minor colourmodal colour | Eb · G · Bb | 12× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 12× |
| 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 | 6× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 42 times in total; 4 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×6
The move to watch is Fm → Bbm, heard 6 times. From the Db side it reads iii → vi; from the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- 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.
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 Fm lays a solid floor for everything that follows. Fm, Eb, Bbm, Ab carry the song: iii–V/V–vi–V relative to Db, v–IV–i–VII relative to Bbm. Eb adds a moment of surprise: secondary dominant V/V — leads to Ab. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; the ear comes to rest in Db.
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.
HiraiZerdüş - Yar Gelsin 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: Mustafa YıldızdoğanMusic: Mustafa YıldızdoğanArrangement: HiraiZerdüş
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