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)
Sena İris - Kirpiklerine Kadar - Chord
Key Gb major – Eb minor Chords Bbm7, Ebm7, Bmaj7, Db, Abm7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm7 Db Bbm7
Dün gece uyumadım oturup ağladım
Bmaj7 Ebm7
Şarkımızı döndürdüm, başa sara sara
Db Bbm7
Kaç kadeh sayamadım yaramı dağladım
Bmaj7
Bi’ baktım kapındayım
Ebm7 Db Bbm7
Kendimi tutamadım başımı yasladım
Bmaj7 Ebm7
Yalvardım yakardım, içim yana yana
Db Bbm7
Kendime soramadım neden ben Allah’ım
Bmaj7
Hak ettim farkındayım
Ebm7 Abm7
Kirpiklerine kadar
Bbm7 Bmaj7
Mutluluktan titrediğin anları bilen
Bbm7 Ebm7
Gözlerime bak, kendini bırak
Abm7
Sarılırken uykunda
Bbm7 Bmaj7
Kendini akışıma bıraktığın o an
Bbm7 Ebm7
Şimdi hatırla, kendini bırak
End of song Play again?
Sena İris - Kirpiklerine Kadar Tabs
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Harmony analysis
Sena İris – Kirpiklerine Kadar: key and chord analysis
The song opens on Ebm7 and ends on Ebm7. 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 7 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 | — |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 2× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 8× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 6× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 4× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 7× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 7× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv7 | Abm7 | Subdominant — moves away from home | Ab · Cb · Eb · Gb | 2× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 8× |
| 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× |
| 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 27 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
- Bmaj7 Ebm7 GbIVmaj7 → vi7 EbmVImaj7 → i7VI → i ×4
- Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×2
The move to watch is Bmaj7 → Ebm7, heard 4 times. From the Ebm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the Gb side it reads IVmaj7 → vi7. 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 Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ebm7, land on Eb, Gb, Bb — 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.
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
Starting on Ebm7, the song gives away its key from the very first bar. The chords that keep coming back are Bbm7, Ebm7, Bmaj7, Db; read them as iii7–vi7–IVmaj7–V in Gb or v7–i7–VImaj7–VII in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bmaj7 → Ebm7 (IVmaj7 → vi7 in Gb, VImaj7 → i7 in Ebm): VI → i — falls a half step into home. Ending on Ebm7, the song seals Ebm as home.
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.
Sena İris - Kirpiklerine Kadar 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: Sena İrisMusic: Sena İris
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