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)
Key Gb major – Eb minor Chords Ebm, B, Bbm, Abm, Db Easy key G
Ebm Bbm
O son bakışın, bana son gülüşün
B
Hiç aklımdan çıkmıyor
Ebm Bbm B
Başkasında bulur muyum derken
Her şey bi anda darmadağın oluyor
Ebm Bbm
Denedim, denedim
B
Sensizliği denedim
Ebm
Ama olmuyor
Bbm B
Sormadın nasılım, nerelerdeyim
Ebm Bbm Abm
Hiç iyi değiiiiiiiilim
Ebm Db B
Gittin gideli inan denedim gizlemeyii
Ebm Bbm Abm
Ama hiç iyi değiiiiiiiilim
Ebm Bbm B Abm
Ebm Bbm
Son içtiğin o kahve ve sönen sigaran
B
Tütse keşke, yaksan ardına bi daha
Ebm Bbm B
Hatıralarla dolu dört bi taraf
Unutamam ki nereye baksam orada var bi parçan
Ebm Bbm
Denedim, denedim
B
Unutmayı denedim
Ebm
Ama olmuyor
Bbm B
Söküp alsınlar kalbimden istedim
Ebm Bbm Abm
Hiç iyi değiiiiiiiilim
Ebm Db B
Gittin gideli inan denedim gizlemeyii
Ebm Bbm Abm
Ama hiç iyi değiiiiiiiilim
B Ebm Db B
Ooh, bilsen gittiğinden beri ne haldeyiiiim
Ebm Db B
Ah, sevdiğim n’olurdu “Kal” deseydiiim?
Ebm Db B
Biliyorum ben istedim “Git” dedim sana
Db
Yine de
Ebm Bbm Abm
Hiç iyi değiiiiiiiilim
Ebm Db B
Gittin gideli inan denedim gizlemeyii
Ebm Bbm Abm
Ama hiç iyi değiiiiiiiilim
Ebm Bbm B Abm
End of song Play again?
Harmony analysis
The song opens on Ebm and ends on Abm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 22 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.
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 | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 16× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 17× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 7× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 22× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 22× |
| 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 | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 16× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 17× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 7× |
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 70 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is B → Ebm, heard 14 times. From the Ebm side it is VI → i (VI → i: falls a half step into home); from the Gb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The first chord is Ebm; the ear learns where home is within a second. The chords that keep coming back are Ebm, B, Bbm, Abm; read them as vi–IV–iii–ii in Gb or i–VI–v–iv in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Ebm (IV → vi in Gb, VI → i in Ebm): VI → i — falls a half step into home. It closes on Abm, 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.
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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