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)
BERR - Peşindeyim Hala - Chord
Key Gb major – Eb minor Chords Ebm, Bbm Easy key F (capo 1)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Bbm Ebm Bbm Ebm Bbm Bu gidişle çıkamayız sabaha Ebm Bbm Söylediklerini geri al Ebm Bbm Uçuştayım ama güvenemiyorum kafama Ebm Bbm Yere çakılabilir her an Ebm Bbm Ebm Bbm (tüm şarkı boyunca aynı akor döngüsü devam eder) Sen de benim gibi bakıyosun yoluna Aklında ne var Koştum anca yetişebildim bu filmin sonuna Olmuş artık olacak olan Olmuş artık olacak olan Kafam senle değil dumanla dolar Oynadın hep benimle kumar Önümüzde yıkılmaz duvarlar var ama Peşindeyim hâlâ Bırakıp gitsen bile ben peşindeyim hâlâ Bitecek bir gün belki içimdeki dava Ama buna daha var Darma dağın Geri gelemem daha kalkarsam Bilemedim sana nasıl anlatsam Çıkaramadım seni çıkmazdan Dayandım aslında Sen pes ettiğimi sansan da Bulanır hep aklım Gemileri yaktım geride bıraksan da Peşindeyim hâlâ Bırakıp gitsen bile ben peşindeyim hâlâ Bitecek bir gün belki içimdeki dava Ama buna daha var Bu gidişle çıkamayız sabaha Söylediklerini geri al Uçuştayım ama güvenemiyorum kafama Yere çakılabilir her an Sen de benim gibi bakıyosun yoluna Aklında ne var Koştum anca yetişebildim bu filmin sonuna Olmuş artık olacak olan
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BERR - Peşindeyim Hala Tabs
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Harmony analysis
BERR – Peşindeyim Hala: key and chord 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.
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 8 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 | 8× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 8× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 8× |
| 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 | 8× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| 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). 2 different chords appear 16 times in total; 2 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×7
The move to watch is Bbm → Ebm, heard 7 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.
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 Bbm, land on Bb, Db, 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 down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Ebm lays a solid floor for everything that follows. The backbone is Ebm, Bbm — vi–iii from the Gb side, i–v from the Ebm side. 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.
BERR - Peşindeyim Hala 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: Asil Slang & Berrin KekliklerMusic: Asil Slang & Berrin KekliklerArrangement: Groza & Asil Slang & Berrin Keklikler
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