Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Barış Manço - Alla Beni Pulla Beni - Chord
Key Bb major – G minor Chords Gm, D7, F, Ebmaj7, Cm Easy key C
5,0 (1 votes)
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm F Ebmaj7 D7
Gm F Ebmaj7 D7
Alla beni pulla beni al koynuna yar
Gm F Ebmaj7 D7
Gözüm senden başkasını görmez oldu yar
Gm F Ebmaj7 D7
Gönlüm senden birşey ister nasıl desem yar
Gm F Ebmaj7 D7
Alla beni pulla beni al koynuna yar
Gm Cm Gm
Senin için dağları deler yol açarım yar
Cm Gm
Senin için denizleri kuruturum yar
Cm Gm D7 Gm
Senin için gök kubbeyi yerlere çalarım yar
Cm Gm D7 Gm
Canım iste canım bile sana kurban yar
Gm F Ebmaj7 D7
Dağlar taşlar uçan kuşlar senin olsun yar
Gm F Ebmaj7 D7
Deniz derya gökler hep yerinde dursun yar
Gm F Ebmaj7 D7
Gönlüm senden birşey ister nasıl desem yar
Gm F Ebmaj7 D7
Alla beni pulla beni al koynuna yar
Gm Cm Gm
Saçlarına yıldızlardan taç yapayım yar
Cm Gm
Bir nefeste güneşleri söndüreyim yar
Cm Gm D7 Gm
Çıra gibi uğrunda ben yanayım yar
Cm Gm D7 Gm
Canım iste canım bile sana kurban yar
Gm F Ebmaj7 D7
Yıldızlar yerinde güzel bırak dursun yar
Gm F Ebmaj7 D7
Saçlarımı ellerinle okşa yeter yar
Gm F Ebmaj7 D7
Gönlüm senden birşey ister nasıl desem yar
Gm F Ebmaj7 D7
Alla beni pulla beni al koynuna yar
Gm Cm Gm
Rüzgar olup ince beline sarılayım yar
Cm Gm
Çimen olup ayağına serileyim yar
Cm Gm D7 Gm
Sürme olup gözlerine sürüleyim yar
Cm Gm D7 Gm
Canım iste canım bile sana kurban yar
End of song Play again?
Barış Manço - Alla Beni Pulla Beni Tabs
NotesX
Harmony analysis
Barış Manço – Alla Beni Pulla Beni: key and chord analysis
The song opens on Gm and ends on Gm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it both starts and finishes on Gm, Gm is heard 34 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 12× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V7/vi | D7 | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A · C | 19× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 13× |
| V | F | Dominant — strongest pull home | F · A · C | 13× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 34× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 34× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 12× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V7 | D7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A · C | 19× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 13× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 13× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 91 times in total; 4 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D7 is V7/vi, a secondary dominant heading for Gm.
Chord movement
- D7 Gm BbV7/vi → visecondary resolution GmV7 → iharmonic-minor cadence ×19
- Cm Gm Bbii → vi Gmiv → iminor plagal ×12
The move to watch is D7 → Gm, heard 19 times. From the Gm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V7/vi → vi (secondary resolution: D7 resolves a fourth up to Gm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D7, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- When D7 comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Gm, D7, F, Ebmaj7 carry the song: vi–V7/vi–V–IVmaj7 relative to Bb, i–V7–VII–VImaj7 relative to Gm. D7 is the interesting twist: in Bb it is a chromatic chord (V7/vi), while in Gm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on D7 → Gm (V7/vi → vi in Bb, V7 → i in Gm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals Gm 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.
Barış Manço - Alla Beni Pulla Beni 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Barış MançoMusic: Barış Manço
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.