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)
Mert İndere - Bıraktım Uğraşları (Buse Ünlü) - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Abm, B, Db Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Bbm Abm Bbm
Ebm
İlk birkaç hafta zordu kabul
Abm Db Ebm
Devam eden aylar yordu beniii
Ebm
Elim bi’ kaza bu elimde değil
Abm Db Ebm
Ben ağır hasarlı sen daha da iyiii
Ebm Bbm
Nasıl bi’ kin bu neyin intikamı
Abm Db
Hasım bilip döktün gözümden yaşları
Ebm Bbm
Çek kalbine ver ihtarı artık
Abm Db
Bil ki bıraktım uğraşları
Ebm Bbm B Bbm
Bıraktım uğraşları sahte telaşlarım yok artık
B Bbm Abm Bbm
Gözümde başkasın sebebi yanında bi’ başkası
Ebm Bbm B Bbm
Bıraktım yaşları çatılan kaşlarım yok artık
B Bbm Abm Bbm
Bu kez bi’ başka kasım sebebi bu derdimin atlası
Ebm Bbm
Gözümde bi başkasın artık
B Bbm
Sebebi yanında bi’ başkası
B Bbm
Bu kez bi’ başka kasım
Abm Bbm
Sebebi bu, derdimin atlası
End of song Play again?
Mert İndere - Bıraktım Uğraşları (Buse Ünlü) Tabs
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Harmony analysis
Mert İndere – Bıraktım Uğraşları (Buse Ünlü): 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 10 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 | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 16× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 6× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 4× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 10× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 10× |
| 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 | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 16× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 6× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 4× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 44 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.
Chord movement
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×4
- Abm Db Gbii → Vii → V Ebmiv → VII ×4
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×3
The move to watch is Db → Ebm, heard 4 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 Bbm, land on Bb, Db, F — 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 Abm, land on Ab, Cb, Eb — 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is Ebm; the ear learns where home is within a second. The chords that keep coming back are Bbm, Ebm, Abm, B; read them as iii–vi–ii–IV in Gb or v–i–iv–VI in Ebm. 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. It closes on Bbm, 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.
Mert İndere - Bıraktım Uğraşları (Buse Ünlü) 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: Oktay KayaMusic: Oktay KayaArrangement: Mili B
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