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)
Röya - Gemiciler - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Abm, Db, Ab, B Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm
Sen sanıyor musun, benden sonra
Db Ab Ebm
Aşkı bulursun başka bir kalpte
Abm
Sen sanıyor musun, benden sonra
Db Ab Ebm
Mutlu olursun başka bir tende
Bbm
Merak ediyorsan git bir bak
Abm Bbm
Ama üzerler söylemedi deme
Hatta çok istiyorsan, kapıları kapat
Ebm Abm Bbm
Kalbimi düşünme bakar çaresine
B Db Abm
Allllaah’ım o günahkarlara
Bbm
Azap vermek istiyorsan
Ebm Bbm
Benim kalbimi ver onlara
Ebm
Gemiciler bile şaştı kaldı
Bbm
Bana attığın düğüme bakınca
Abm Bbm
Ama umurumda değil ki asla
B Db Abm
Allllaah’ım o günahkarlara
Bbm
Azap vermek istiyorsan
Ebm Bbm
Benim kalbimi ver onlara
Ebm
Acılar bile baktı kaldı
Bbm
Bıraktığın sızıyı duyunca
Abm Bbm
Ama umrunda değil ki hala
End of song Play again?
Röya - Gemiciler Tabs
NotesX
Harmony analysis
Röya – Gemiciler: key and chord analysis
The song opens on Ebm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
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 and Ebm is heard 8 times while Gb never appears. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 7× |
| V/V | Ab | Secondary dominant V/V — leads to Dbsecondary dominant | Ab · C · Eb | 2× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 11× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 2× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 4× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 8× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 8× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 7× |
| IV | Ab | Major IV — Dorian / melodic-minor colourmodal colour | Ab · C · Eb | 2× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 11× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 2× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 4× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 34 times in total; 5 of them sit naturally inside the shared scale. Ab acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×5
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×2
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
The move to watch is Bbm → Ebm, heard 5 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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 Bbm, land on Bb, Db, F — 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.
- Over Abm, land on Ab, Cb, 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 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 up
The song's harmonic story
The opening Ebm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Ebm, Abm, Db; read them as iii–vi–ii–V in Gb or v–i–iv–VII in Ebm. Ab adds a moment of surprise: secondary dominant V/V — leads to Db. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm, letting the Gb 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.
Röya - Gemiciler 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: EflatunMusic: EflatunArrangement: Erhan Bayrak
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