Madrigal - Ne Zamandır Sendeyim - Chord

Key Gb major – Eb minor Chords Ebm, Bbm, Abm Easy key C (capo 6)

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Capo 0

Abm  Bbm  Ebm  Ebm  Abm  Bbm  Ebm  Ebm

Abm  Bbm      Ebm        Abm
   Sağım solum çıkmaz sokak
  Bbm        Ebm
Baharlar çok uzak bana
Abm     Bbm       Ebm           Abm
 Ne çok haklıydın, dünde saklıydın
  Bbm         Ebm
Yarınların yalan

Abm  Bbm     Ebm 
  Sordum seni hep yağmura
Abm  Bbm       Ebm
  Yıldızlara, aya
   Abm    Bbm        Ebm
Gezdim tozdum, belki uyarsın diye
Abm  Bbm        Ebm
  Vurdum dalgalara

  Abm  Bbm   Ebm
Cezaaaaaaa gibi
Abm     Bbm        Ebm
 İstedin mi bu halimi
   Abm  Bbm   Ebm
Bu soooooon değil
Abm   Bbm         Ebm
 Ne zamandır sendeyim?

Abm  Bbm    Ebm          Abm
  Aşmış boyuu, derdi tozuuu
   Bbm         Ebm
Geçmişim kendimden
Abm    Bbm   Ebm              Abm
 Bir rüyalarda, başka kollardaa
   Bbm        Ebm
Geldim üstesinden

  Abm  Bbm   Ebm
Cezaaaaaaa gibi
Abm     Bbm        Ebm
 İstedin mi bu halimi
   Abm  Bbm   Ebm
Bu soooooon değil
Abm   Bbm         Ebm
 Ne zamandır sendeyim?

Bbm           Ebm
Kopamıyorsan, atamıyorsan
Abm     Bbm      Ebm    
 Üstünü çizemiyorsan, karala

End of song Play again?

Madrigal - Ne Zamandır Sendeyim Tabs

NotesX

Harmony analysis

Madrigal – Ne Zamandır Sendeyim: key and chord analysis

The song opens on Abm and ends on Ebm. 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 it comes to rest on Ebm and Ebm is heard 26 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	23×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	24×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	Cb	Subdominant — moves away from home	Cb · Eb · Gb	—
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	26×
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	26×
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	23×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	24×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	Cb	Submediant — warm colour	Cb · Eb · Gb	—
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). 3 different chords appear 73 times in total; 3 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

Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×24

The move to watch is Bbm → Ebm, heard 24 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — 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 first chord is Abm; the ear learns where home is within a second. Ebm, Bbm, Abm carry the song: vi–iii–ii relative to Gb, i–v–iv relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. Ending on Ebm, the song seals Ebm 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.