Tarkan - Salına Salına Sinsice - Chord

Key Gb major – Eb minor Chords D#m, A#, B, G#m, F7 Easy key C (capo 6)

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Capo 0

D#m
Sıradan bir akşamüstü durgun bir pazar günüydü
     A#                               D#m
Ben bedbaht dolanırken aylak aylak, olan oldu aniden 
D#m
Bir telaş sardı mahalleyi, böylesini gözler hiç görmedi
      A#                        D#m
Tutuldum bu afet bir içim su, Allah'ım rüya mı bu
 
D#m                          B
Sen başa bela dilber, her derde deva esmer  
    G#m                      A#                                                    
Salına salına sinsice, girdin kanıma gizlice    

D#m                         B
Belindeki kemer olayım, saçındaki toka olayım
         G#m                    D#m
Nefesin olup içine dolayım, ez geç yürüdüğün yollar olayım
 
D#m                         B
Belindeki kemer olayım, saçındaki toka olayım
        G#m              D#m
Nefesin olup içine dolayım, iste kölen olayım 

        A#              D#m
Sensiz geçen günlere düşman oldum
         A#                   D#m
Bittim mahvoldum yar deli gönlüm tarumar
      A#               D#m
Uzat elini aşk yolunda kayboldum
       A#               F7        A#
Düştüm dillere bir ümit ver eriyorum yar

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Tarkan - Salına Salına Sinsice Tabs

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Harmony analysis

Tarkan – Salına Salına Sinsice: key and chord analysis

The song opens on D#m and ends on A#. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

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)

Minor view

Eb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Cb (the minor's melancholy)
b7 = Db (natural-minor colour)
#7 = D (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 Eb minor side because it opens on Ebm, Ebm is heard 12 times while Gb never appears and the major V chord points straight at Ebm. 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	G#m	Supertonic — prepares the dominant	G# · B · D#	3×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	A#	Secondary dominant V/vi — leads to D#msecondary dominant	A# · D · E#	8×
IV	B	Subdominant — moves away from home	B · D# · F#	3×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	D#m	Relative minor — the melancholy side	D# · F# · A#	12×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—
V7/iii	F7	Secondary dominant V/iii — leads to A#msecondary dominant	F · A · C · Eb	1×

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	D#m	Tonic — home	D# · F# · A#	12×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
V7/v	F7	Secondary dominant V/v — leads to A#msecondary dominant	F · A · C · Eb	1×
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	G#m	Subdominant — moves away from home	G# · B · D#	3×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
V	A#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A# · D · E#	8×
VI	B	Submediant — warm colour	B · D# · F#	3×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	—

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 27 times in total; 3 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same A# is V/vi, a secondary dominant heading for Ebm. F7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

A# D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×6
G#m D#m Gbii → vi Ebmiv → iminor plagal ×2
G#m A# Gbii → V/vi Ebmiv → Viv → V ×1
F7 A# GbV7/iii → V/visecondary resolution EbmV7/v → V ×1

The move to watch is A# → D#m, heard 6 times. From the Ebm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → 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 D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
Over A#, land on A#, D, E# — 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.
When A# comes, swap the scale's Db for D: 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 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 down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is D#m; the ear learns where home is within a second. The chords that keep coming back are D#m, A#, B, G#m; read them as vi–V/vi–IV–ii in Gb or i–V–VI–iv in Ebm. A# is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A# → D#m (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. Ending on A#, 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.