Manga - Yad Eller - Chord

Key Db major – Bb minor Chords Db, Ab, Ebm, B Easy key D

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Capo 0

Ebm   Db   Ab   Ab

Ebm       Db         Ab                         Ebm
Zor bu sefer, tam unutuyorken hapisten kaçtı keder
     Db    Ab
Anlasam onda ne vardı da bende yoktu
     Ebm           Db        Ab                           Ebm
Yok mu bensiz bir yer, dağılıyorum her gördüğümde daha beter
      Db     Ab
Bu sefer zindanları mumla arar oldum

Ebm           Db            Ab
Yad eller yangın, koca bir aşk alev aldı dert başa sardı
Ebm          Db         Ab
Yad eller aldı beni senden taşlara taşlara çaldı


Ebm      Db        Ab                           Ebm
Her dönüşün, bir umut oluyor ah o kaçak sevişmeler
      Db      Ab
Ardından göz göze gelmeye korkar oldum
   Ebm        Db         Ab                          Ebm
Kalsan bin beter, bir canım kaldı o da suçlu ve pişman
       Db         Ab
Al onu da ben zindanları mumla arar oldum

Ebm           Db            Ab
Yad eller yangın, koca bir aşk alev aldı dert başa sardı
Ebm          Db         Ab
Yad eller aldı beni senden taşlara taşlara çaldı

B                   Db   Ab
Yad eller yad eller
B                   Db   Ebm
Yad eller yad eller

End of song Play again?

Manga - Yad Eller Tabs

NotesX

Harmony analysis

Manga – Yad Eller: key and chord analysis

The song opens on Ebm and ends on Ebm. 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 Db major side because Db is heard 15 times while Bbm never appears. That is an interpretation, not a rule — hearing the same chords from Bb minor is just as valid and teaches you something different.

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	15×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	14×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
III	F	Chromatic colour chordoutside the key	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	—
V	Ab	Dominant — strongest pull home	Ab · C · Eb	15×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	—
bVII	B	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	B · D# · F#	2×
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	—
bII	B	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	B · D# · F#	2×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	15×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	14×
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	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	—
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	15×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 46 times in total; 3 of them sit naturally inside the shared scale. B is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B Db DbbVII → IbVII → I BbmbII → III ×2

The move to watch is B → Db, heard 2 times. From the Db side it reads bVII → I (bVII → I: a rock / Mixolydian arrival); from the Bbm side it is bII → III. 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
On B, follow the chord's notes (B · D# · F#) rather than the key's scale — it's a borrowed colour.

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 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. The backbone is Db, Ab, Ebm, B — I–V–ii–bVII from the Db side, III–VII–iv–bII from the Bbm side. B briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on B → Db (bVII → I in Db, bII → III in Bbm): bVII → I — a rock / Mixolydian arrival. It closes on Ebm, letting the Db 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.