Pilli Bebek - Bak - Chord

Key Db major – Bb minor Chords F, A#m, D#m, F#, C#, C Easy key C (capo 1)

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Capo 0

A#m  F

A#m                 F
Öfke yangınlarından kurtulsan
A#m                    F
Kendi kıyılarına yakın bir yerde
A#m                    F
Toz pembenin üstüne bassan
A#m                    F
Gök mavinin altında uzansan


D#m    C#      F              A#m  C  C#
Uzak geliyor hayatın uzak sana
D#m    C#      F
Yakamam kendimi yakamı bıraksana


            A#m   D#m      F
Hayaller içinde gün görmeye bak
            A#m   D#m      F
Saklı kalan güne can vermeye bak
            A#m   D#m      F
Parıldayıp duran insanlara bak
            A#m   D#m      F
Kendi düşlerine düşmanlara bak


            F#   D#m      F
Parıldayıp duran insanlara bak
            F#   D#m      F
Kendi düşlerine düşmanlara bak
            F#   D#m      F
Gittikçe yükselen haller içindeyim   
            F#   D#m      F
İnsandan örülmüş duvarlar içindeyim

End of song Play again?

Pilli Bebek - Bak Tabs

NotesX

Harmony analysis

Pilli Bebek – Bak: key and chord analysis

The song opens on A#m and ends on F. 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)
#7 = A (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 Bb minor side because it opens on Bbm, Bbm is heard 10 times against 3 for Db and the major V chord points straight at Bbm. 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	C#	Tonic — home	C# · E# · G#	3×
ii	D#m	Supertonic — prepares the dominant	D# · F# · A#	10×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to A#msecondary dominant	F · A · C	15×
IV	F#	Subdominant — moves away from home	F# · A# · C#	4×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	A#m	Relative minor — the melancholy side	A# · C# · E#	10×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
V/iii	C	Secondary dominant V/iii — leads to Fmsecondary dominant	C · E · G	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	A#m	Tonic — home	A# · C# · E#	10×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
V/v	C	Secondary dominant V/v — leads to Fmsecondary dominant	C · E · G	1×
III	C#	Relative major — the bright side	C# · E# · G#	3×
iv	D#m	Subdominant — moves away from home	D# · F# · A#	10×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	15×
VI	F#	Submediant — warm colour	F# · A# · C#	4×
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). 6 different chords appear 43 times in total; 4 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

F A#m DbV/vi → vi BbmV → iharmonic-minor cadence ×9
D#m F Dbii → V/vi Bbmiv → Viv → V ×8

The move to watch is F → A#m, heard 9 times. From the Bbm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V/vi → vi. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
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.
When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

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
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is A#m; the ear learns where home is within a second. F, A#m, D#m, F# carry the song: V/vi–vi–ii–IV relative to Db, V–i–iv–VI relative to Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → A#m (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. The final chord is F; 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.