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)
Kenan Doğulu - Yosun - Chord
Key Gb major – Eb minor Chords Ebm, Db, B, Abm, Bbm Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Db Abm
Hatalarınla pişmanlıklarınla gel
B Db Ebm
Düzeltiriz hepsini birer birer
Db Abm
Kızgınlıklarınla kırgınlıklarınla gel
B Db Ebm
Altından kalkarız beraber
Ebm Db
Yalnız değil yenik değil
Abm
Çaresiz hiç değilsin
B Db Ebm
Suç ortağım dizinin dibindeyim
Ebm Db
Hayat sana insafsızca
Abm
Ne kadar tuzak kursa da
B Db Ebm
Yosun gözlerine fedaiyim
B Bbm
Yüzün gülene kadar emrindeyim
B Bbm Abm Db
B Bbm Abm Bbm
Ebm Bbm Abm
Utançlarınla en gizlilerinle gel
B Db Ebm
Hallederiz hepsini geçer gider
Db Abm
Savaşlarınla haksızlarınla gel
B Bbm Ebm
Doğru yolu buluruz, buluştururuz yeniden
Ebm Db
Zarar değil ziyan değil
Abm
Hepsi de kor zor anı
B Db Ebm
İnsanız var elbet hata payı
Ebm Db
Ne olmuş yani olmuş bitmiş
Abm
Zaten bu dünya fani
B Bbm Ebm
Yasla başını göğsüme cennet baki
Ebm Db
Yalnız değil yenik değil
Abm
Çaresiz hiç değilsin
B Db Ebm
Suç ortağım dizinin dibindeyim
Ebm Db
Hayat sana insafsızca
Abm
Ne kadar tuzak kursa da
B Db Ebm
Yosun gözlerine fedaiyim
B Bbm
Yüzün gülene kadar emrindeyim
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Kenan Doğulu - Yosun Tabs
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Harmony analysis
Kenan Doğulu – Yosun: key and chord analysis
The song opens on Ebm 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 it opens on Ebm and Ebm is heard 18 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 | 12× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 8× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 14× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 18× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 18× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 18× |
| 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 | 12× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 8× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 14× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 18× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 70 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×8
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×8
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×3
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
The move to watch is Db → Ebm, heard 8 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 Db, land on Db, F, Ab — 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
The opening Ebm lays a solid floor for everything that follows. Ebm, Db, B, Abm carry the song: vi–V–IV–ii relative to Gb, i–VII–VI–iv relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. It closes on Bbm, 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.
Kenan Doğulu - Yosun 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: Kenan DoğuluMusic: Kenan DoğuluArrangement: Ozan Doğulu
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