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, Db, Bbm, Abm, B Easy key C (capo 6)
Ebm Db Abm Bbm
Ebm Db
Temiz bir sayfa dedim bir anda
Abm Bbm Ebm Db Abm Bbm
Seninle dizdiğim yıldızlar önümde parlar
Ebm Db
Ben ve kendim kararlar aldık
Abm Bbm Ebm Db Abm Bbm
Bi' dilek tuttuk, kıyılara yazdık, gizli saklı
Ebm Db
Bu kadeh Ege'nin İzmir'ine
Bbm B
Umutla dolan o gözlerine
Ebm Db
Bütün yara izlerini
Abm Bbm
Seviyorum, öpüyorum, görüyorum artık
Ebm Db
Başka da hiçbir şey istemedim
Bbm B
Bir şarkı da ikimize besteledim
Ebm Db
Yara bere ellerimiz ama
Abm Bbm
Yürüyoruz ileriye ve diyoruz artık
Ebm Db Bbm B
Bundan böyle hüzün yok bu resimde
Ebm Db Abm Bbm
Ne bi' kavga ne bi' öfke, hepsi bir bir eksildi
Ebm Db Bbm B
Aldım kabul ettim, çok büyük yemin ettim
Ebm Db Abm Bbm Ebm Db Bbm B
Benim haylaz bu kalbim, kenarda bi' yerde durmayacak öyle
Ebm Db Abm Bbm
Bundan böyle
Ebm Db Bbm B Ebm Db Abm Bbm
Canım çekti, aklım kaydı dedim ruhumun belki bi' bildiği vardır
Ebm Db Abm Bbm Ebm Db Abm Bbm
Koşup gittim ne zamandır ilk defa hayallere daldım, dalgalandım
Ebm Db Bbm B
Şimdi gülüyorum eskilere, yarım kalan tüm heveslerime
Ebm Db Abm Bbm
Bir iki nefeslenerek dönüyorum, bakıyorum, biliyorum artık
Ebm Db Bbm B
Bu yürek hiç eskimedi, dönüp bi' gün bile pes demedi
Ebm Db Abm Bbm
Görüyorum hislerini, gidiyorum ileriye ve diyorum artık
Ebm Db Bbm B
Bundan böyle hüzün yok bu resimde
Ebm Db Abm Bbm
Ne bi' kavga ne bi' öfke, hepsi bir bir eksildi
Ebm Db Bbm B
Aldım kabul ettim, çok büyük yemin ettim
Ebm Db Abm Bbm Ebm Db Bbm B
Benim haylaz bu kalbim, kenarda bi' yerde durmayacak öyle
Ebm Db Abm Bbm
Bundan böyle
End of song Play again?
Harmony analysis
The song opens on Ebm and ends on Bbm. 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 29 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 | 18× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 29× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 11× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 29× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 29× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 29× |
| 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 | 18× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 29× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 11× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 29× |
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 116 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 Bbm → Ebm, heard 17 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.
Empty slices are chords the song doesn't use.
Starting on Ebm, the song gives away its key from the very first bar. Ebm, Db, Bbm, Abm carry the song: vi–V–iii–ii relative to Gb, i–VII–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. The final chord is Bbm; the ear comes to rest in Gb.
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.
Ready-made lists by difficulty and mood.
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