Evdeki Saat - İyi Nöbetler - Chord

Key Gb major – Eb minor Chords Ebm, Bmaj7, Db Easy key G

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Capo 0

Ebm
Bir bilsen neler geçti başımdan

Ne çakallar koştu peşimden
Bmaj7                 Db
Barışamadım dünya seninle

      Ebm
Vazgeçtim dedim insanlık hali

Ama ne bileyim insanlık adi
Bmaj7                Db
Barışamadık hala seninle

   Ebm
Oturur izlerim

Tutmuyor dizlerim
       Bmaj7
Ve karışır hislerim
     Db
Tanırken sizleri

Ebm
Beni bırakın duyayım

Sesini içimin
    Bmaj7           Db
Bırakın peşimi, bırakın gideyim

Ebm
 Hadi ben kaçtım

 Ama biraz yavaştım
Bmaj7             Db
 Yetişti dertler, evimde bekler
 
 İyi nöbetler

Ebm
Teklik oldum çokluk içinde

Pislik oldum tırnak içinde
Bmaj7                Db
Hepsi seni bulmak içindi

Ebm
Debelendim pek çok biçimde

Eve geldim bak en sonunda
Bmaj7                Db
Hepsi senin olmak içindi

End of song Play again?

Evdeki Saat - İyi Nöbetler Tabs

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Harmony analysis

Evdeki Saat – İyi Nöbetler: key and chord analysis

The song opens on Ebm and ends on Db. 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 opens on Ebm and Ebm is heard 7 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	—
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IVmaj7	Bmaj7	Subdominant — moves away from home	B · D# · F# · A#	7×
V	Db	Dominant — strongest pull home	Db · F · Ab	7×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	7×
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	7×
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	—
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	—
VImaj7	Bmaj7	Submediant — warm colour	B · D# · F# · A#	7×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	7×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 21 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

Bmaj7 Db GbIVmaj7 → VIV → V EbmVImaj7 → VIIVI → VII ×7
Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×6

The move to watch is Bmaj7 → Db, heard 7 times. From the Ebm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Gb side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — 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

The first chord is Ebm; the ear learns where home is within a second. Ebm, Bmaj7, Db carry the song: vi–IVmaj7–V relative to Gb, i–VImaj7–VII relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bmaj7 → Db (IVmaj7 → V in Gb, VImaj7 → VII in Ebm): VI → VII — the rising step that heads for the tonic. Ending on Db, the song seals Gb 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.