Madrigal - Bambaşka - Chord

Key Gb major – Eb minor Chords Db, Ebm, Abm, B, Am Easy key G

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Capo 0

Abm    Db            Ebm 
 Büyük umutlar, bizi bozdular dedim
Abm  Db                     Ebm
 Uzaklaşırsam iyileşecek kalbim
 
 Bana dargın geçmişim

Abm  Db             Ebm
 Son mektubum, daraldı ruhum buralardan
Abm  Db                       Ebm
 Dün görmeli, şimdi gömmeli artık

 Bakmıcam arkama

Abm       Db
 Yoldayım sonunda
Ebm                 B
 Kaçmadım ama zordu yaşamak
Abm           Db
 Gülmeden nereye kadar
Ebm                B
 Belki başka yerlerde hayat var

Abm  Db               Ebm  B
       Başka insanlar var

Abm  Db  Ebm  B

Abm     Db            Ebm
 Biz de zamanlar darmadumanlar dedim
Abm   Db                     Ebm
 Çok uzaklarda bir yerlerde evim
  
 Kayboldum nerdeyim?

Am      Db              Ebm
 Baktım olmadı, denedim olmadı yine
Abm    Db                         Ebm
 Attım her şeyi, yaktım hepsini artık

 Kararlıyım gitmeye

Abm       Db
 Yoldayım sonunda
Ebm                 B
 Kaçmadım ama zordu yaşamak
Abm           Db
 Gülmeden nereye kadar
Ebm                B
 Belki başka yerlerde hayat var

Abm  Db               Ebm  B
       Başka insanlar var

Abm  Db  Ebm  B

Son mektubum, daraldı ruhum buralardan
Uzaklaşırsam iyileşecek kalbim
Son satırlar, beni hatırla diye
Dünya yüzünü dönmeli artık

Abm       Db
 Yoldayım sonunda
Ebm                 B
 Kaçmadım ama zordu yaşamak
Abm           Db
 Gülmeden nereye kadar
Ebm                B
 Belki başka yerlerde hayat var

End of song Play again?

Madrigal - Bambaşka Tabs

NotesX

Harmony analysis

Madrigal – Bambaşka: key and chord analysis

The song opens on Abm and ends on B. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Eb minor side because Ebm is heard 18 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	17×
biii	Am	Chromatic colour chordoutside the key	A · C · E	1×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	10×
V	Db	Dominant — strongest pull home	Db · F · Ab	18×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	18×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	18×
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	17×
#iv	Am	Chromatic colour chordoutside the key	A · C · E	1×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	10×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	18×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 64 times in total; 4 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.

Chord movement

Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×18
Abm Db Gbii → Vii → V Ebmiv → VII ×17

The move to watch is Db → Ebm, heard 18 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 Db, land on Db, F, Ab — 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

1 semitone up
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on Abm, the song gives away its key from the very first bar. The backbone is Db, Ebm, Abm, B — V–vi–ii–IV from the Gb side, VII–i–iv–VI from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. It closes on B, 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.