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)
Tuna Kiremitçi - Selam Yabancı - Chord
Key Bb major – G minor Chords Gm, F, Eb, Cm, Bb, D Easy key G (capo 3)
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Key: Bb | Gm
Capo: 0
Gm F Cm Eb Gm F Bb Gm
Gm F
En uzak denizden döndün
Cm Gm
Başı dumanlı dağlardan
Eb F
Kendine kader seçtin
Bb Gm
Dilsiz falcılardan
Gm F
İsmimi değiştirdim ama
Cm Gm
Aslında aynı kaldım
Eb F
Sen beni unutsan da
Bb Gm
Ben seni hep hatırladım
F Gm
Döndün ki her şey değişmiş
F Gm
Korkular hep göğe ermiş
F Gm
Döndüm ki herkes uykuda
Eb D
Gecenin karanlığında
D Gm F Cm
Selam yabancı, hâlâ ölü müsün
Eb Gm F Bb
Dudaklarından öpsem dirilir misin
D Gm F Cm
Selam yabancı, hâlâ ölü müsün
Eb Gm F Bb
Yaralandığın yerden sevsem dirilir misin
Gm F
Gözden gönülden uzak
Cm Gm
Yalnız Tanrı’ya yakın
Eb F
Bir yolcuydum anlayan
Bb Gm
Alemi adım adım
Gm F
Ne yaptıysan olmadı
Cm Gm
Sıla hasreti hiç geçmedi
Eb F
El kapısını açmadı
Bb Gm
Çocukluk duaların
D Gm F Cm
Selam yabancı, hâlâ ölü müsün
Eb Gm F Bb
Dudaklarından öpsem dirilir misin
D Gm F Cm
Selam yabancı, hâlâ ölü müsün
Eb Gm F Bb Gm
Yaralandığın yerden sevsem dirilir misiiiiiin
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Tuna Kiremitçi - Selam Yabancı Tabs
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Harmony analysis
Tuna Kiremitçi – Selam Yabancı: 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 27 times against 9 for Bb 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 | 9× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 9× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 5× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 21× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 27× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 27× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 9× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 9× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 5× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 10× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 21× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 81 times in total; 5 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 D is V/vi, a secondary dominant heading for Gm.
Chord movement
- F Bb BbV → Iauthentic cadence GmVII → III ×9
- Eb Gm BbIV → vi GmVI → iVI → i ×5
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×4
- Cm Gm Bbii → vi Gmiv → iminor plagal ×4
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×4
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×3
The move to watch is F → Bb, heard 9 times. From the Gm side it is VII → III; from the Bb side it reads V → I (authentic cadence: the strongest arrival home). 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- When D 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
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. Gm, F, Eb, Cm carry the song: vi–V–IV–ii relative to Bb, i–VII–VI–iv relative to Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bb (V → I in Bb, VII → III in Gm): authentic cadence — the strongest arrival home. 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.
Tuna Kiremitçi - Selam Yabancı 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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