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)
Defa - Bıraktım (Mavi) - Chord
Key Gb major – Eb minor Chords Db, Ebm, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Db Ebm Db B
Db
Kaçtık sen benden ben senden
Sersemlerken sen ben düşmem
Senle bu yerde kaldık
Benle bu yerde kaldın
B Db Ebm
Belkide sevmedin sevmesen
Db B
Her şeyi bırakıp birden gitsen
Ebm
Senle sadece bi andık
Db B
Benle sadece bi andın
B Db Ebm B Db Ebm
B Db Ebm
Bıraktım her şeyi, senle geride
B Db Ebm
Senle geride, senle geride
B Db
Senle gider, bu günlerim
Ebm B
Her şey biter, gerçeklere açık kalbim dinler
Db Ebm
Ben söylesem, inat edip denersin
Her şey biter mi
B
Gerçeği duysan
Db Ebm
Ben benden uzaksam sen senle tutsak
Eder bizi ruhlar
B
Gerçeği duysan
Db Ebm
Beni sevmek kolaysa neden zaman akar
Yalan bu seni saran
B Db Ebm
Bıraktım her şeyi, senle geride
B Db Ebm
Senle geride, senle geride
B Db Ebm
Bıraktım seni bugün de şeytanların eline
B
Bizden ne varsa kaldı geride
Db Ebm
Her gece yanarken eşyaların da yandı benimle
B
Seninle ömür geçirmek yazılmamış kaderime
Db Ebm
Çekinme bırak, senin kıçımdaki taht
B
Kazar mezar ailem, dostlar kuyular
Db Ebm
Eski zamanlarda yaşardık masallarda gibi
(Şimdi)
B Db Ebm
Bıraktım her şeyi, senle geride
B Db Ebm
Senle geride, senle geride
End of song Play again?
Defa - Bıraktım (Mavi) Tabs
NotesX
Harmony analysis
Defa – Bıraktım (Mavi): key and chord analysis
The song opens on Ebm and ends on Ebm. 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: to us the song feels closer to the Eb minor side because it both starts and finishes on Ebm and Ebm is heard 20 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.
| 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 | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 20× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 22× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 20× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 20× |
| 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 | — |
| VI | B | Submediant — warm colour | B · D# · F# | 20× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 22× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 62 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
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×18
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×18
- B Ebm GbIV → vi EbmVI → iVI → i ×1
The move to watch is Db → Ebm, heard 18 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — 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
- 3 semitones up
The song's harmonic story
The opening Ebm lays a solid floor for everything that follows. The backbone is Db, Ebm, B — V–vi–IV from the Gb side, VII–i–VI from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. The final chord is Ebm; the ear comes to rest in Ebm.
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.
Defa - Bıraktım (Mavi) 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: Defa, MaviMusic: Luca Fritz
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