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)
Kıraç - Yıkık - Chord
Key Gb major – Eb minor Chords A#m, D#m, B, C#, G#m Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
A#m D#m C#
Bugün yıkığım biliyor musun
B A#m
Ezginim çaresizim umutsuzum
A#m D#m C#
Bırakma beni insanlar kötü
B A#m
Bırakma beni korkuyorum
A#m G#m
Bir deli otlar büyüyor içimde
B D#m
Sancılıyım yorgunum kederliyim
A#m G#m
Bu halini sevdim gitme kal
B D#m
Çamurlar çirkefler içindeyim
A#m D#m C#
Bırakma beni insanlar kötü
B A#m
Bırakma beni korkuyorum
A#m D#m C#
Bir dayak yemiş adamım şimdi
B A#m
Bezginim kararsızım yılgınım
D#m C#
Al götür beni o kayıp gecelere
B A#m
Yeter ikimize yalnızlığım
A#m D#m C#
Bırakma beni insanlar kötü
B A#m
Bırakma beni korkuyorum
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Kıraç - Yıkık Tabs
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Harmony analysis
Kıraç – Yıkık: key and chord analysis
The song opens on A#m and ends on A#m. 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 8 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 | G#m | Supertonic — prepares the dominant | G# · B · D# | 2× |
| iii | A#m | Mediant — a tonic-family shade | A# · C# · E# | 13× |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 8× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 6× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 8× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 8× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 2× |
| v | A#m | Minor dominant — soft pull | A# · C# · E# | 13× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 8× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 6× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 37 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
- A#m D#m Gbiii → vi Ebmv → inatural-minor cadence ×6
- B D#m GbIV → vi EbmVI → iVI → i ×2
The move to watch is A#m → D#m, heard 6 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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 A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over D#m, land on D#, F#, A# — 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening A#m lays a solid floor for everything that follows. A#m, D#m, B, C# carry the song: iii–vi–IV–V relative to Gb, v–i–VI–VII relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A#m → D#m (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. Ending on A#m, 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.
Kıraç - Yıkık 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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