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)
İlyas Yalçıntaş - Kirli Kadeh - Chord
Key Db major – Bb minor Chords Bbm, Ab Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Bbm Ab Ab
Bbm
Karanlıkmış senin dünyan
Ab
Görülmen çok zor, çok zor
Bbm
Azaltılmış bütün sevgin
Ab
Dokunmak çok zor, çok zor
Bbm Ab
Bir bilsen kalbim bir bilmece
Bbm Ab
Vazgeçmem söz verdim bu gece
Bbm
Ben nasıl yandım böyle
Ab
Bin kapımı açtım, gelsen ne olur
Bbm
Dansettim öyle, ellerimi artık tutsan ne olur
Ab
Gözlerine söyle, tüm geceye birden sussak da olur
Bbm
Kirli bir kadehle, her yerime dolsam ne olur
Bbm Bbm Ab Ab
Bbm
Karanlıkmış senin dünyan
Ab
Görülmen çok zor, çok zor
Bbm
Azaltılmış bütün sevgin
Ab
Dokunmak çok zor, çok zor
Bbm
Ben nasıl yandım böyle
Ab
Bin kapımı açtım, gelsen ne olur
Bbm
Dansettim öyle, ellerimi artık tutsan ne olur
Ab
Gözlerine söyle, tüm geceye birden sussak da olur
Bbm
Kirli bir kadehle, her yerime dolsam ne olur
End of song Play again?
İlyas Yalçıntaş - Kirli Kadeh Tabs
NotesX
Harmony analysis
İlyas Yalçıntaş – Kirli Kadeh: key and chord analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
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 Bb minor side because it both starts and finishes on Bbm and Bbm is heard 16 times while Db never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 14× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 16× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 16× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| 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 | 14× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 2 different chords appear 30 times in total; 2 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×12
The move to watch is Ab → Bbm, heard 12 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). 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 Bbm, land on Bb, Db, F — 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.
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
- 4 semitones up
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. Bbm, Ab carry the song: vi–V relative to Db, i–VII relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. Ending on Bbm, the song seals Bbm 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.
İlyas Yalçıntaş - Kirli Kadeh 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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Lyrics: İlyas YalçıntaşMusic: İlyas YalçıntaşArrangement: Aytaç Kart
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