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)
Kubilay Karça - Defoluyorum Kalbinden - Chord
Key Gb major – Eb minor Chords Bbm7, Bmaj7, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Bbm7 Bbm7 Bmaj7 B Bbm7 Dört bir yana dağılmış Senden kalan ne varsa Bmaj7 Toplasam neye yarar B Kalsın ortalıkta Bbm7 Benim de artık bi hükmüm yok Bir şey gelmez elimden Bmaj7 Sana yazıklar olsun B Seni seven anlar halimden Bbm7 Ağır yaralı yüreğim darda Vuruldu kuytuda bi yalanla Bmaj7 Bende nasibimi aldım B Kalamam daha fazla Bbm7 Terkediyorum artık Sadece seni değil bu şehri Bmaj7 Defoluyorum kalbinden B Hep istediğin gibi Bbm7 Baskın var sokaklarında Köşe başları tutulmuş bekliyorlar Bmaj7 Gelemem vedaya B Sen vurdun kalbimi ama beni arıyorlar
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Kubilay Karça - Defoluyorum Kalbinden Tabs
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Harmony analysis
Kubilay Karça – Defoluyorum Kalbinden: key and chord analysis
The song opens on Bbm7 and ends on B. 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: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 7× |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 6× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 6× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | — |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | — |
| 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 | — |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 7× |
| 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# | 6× |
| VI | B | Submediant — warm colour | B · D# · F# | 6× |
| 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 19 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Bbm7, land on Bb, Db, F — 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 B, land on B, D#, F# — 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 Bbm7; the ear learns where home is within a second. The backbone is Bbm7, Bmaj7, B — iii7–IVmaj7–IV from the Gb side, v7–VImaj7–VI from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.
Kubilay Karça - Defoluyorum Kalbinden 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: Kubilay KarçaMusic: Kubilay KarçaArrangement: Abdurrahman Şimşek
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