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)
Ebru Gündeş - Alev Alev - Chord
Key Gb major – Eb minor Chords Bbm, Bmaj7, Abm7, Db, Ebm7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm Bmaj7 Db Bbm
Bbm Bmaj7 Abm7 Db Bmaj7 Bbm
Bbm Bmaj7
Anladım ki aşkımız bir yalandan ibaret
Abm7 Db Bmaj7 Bbm
Benim sana yaptığım canım aşk tadında ibadet
Bbm Abm7 Ebm7
Ben seni çılgın gibi uykumda bile sevdim
Abm7 Bmaj7 Ebm7
Gelecek bizim olsun gerisi Allah Kerim
Bbm Bmaj7
Alev alev alev alev yandığımı görüyorsun
Abm7 Db Bmaj7 Bbm
Bir teselli istemedim istemem de biliyorsun
Bmaj7
Her yeni gün yeni umut yeni güneş mi diyorsun
Abm7 Db Bmaj7 Bbm
O her gün doğar ama ben bir kere biliyorsun
End of song Play again?
Ebru Gündeş - Alev Alev Tabs
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Harmony analysis
Ebru Gündeş – Alev Alev: key and chord analysis
The song opens on Bbm 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 Ebm is heard 2 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 | 6× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 10× |
| 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# | 10× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 5× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 2× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 2× |
| 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 | 6× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 10× |
| 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# | 10× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 5× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 33 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
- Abm7 Db Gbii7 → Vii → V Ebmiv7 → VII ×4
- Abm7 Ebm7 Gbii7 → vi7 Ebmiv7 → i7minor plagal ×1
- Bmaj7 Db GbIVmaj7 → VIV → V EbmVImaj7 → VIIVI → VII ×1
- Bmaj7 Ebm7 GbIVmaj7 → vi7 EbmVImaj7 → i7VI → i ×1
The move to watch is Abm7 → Db, heard 4 times. From the Ebm side it is iv7 → VII; from the Gb side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Abm7, 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 Bbm; the ear learns where home is within a second. Bbm, Bmaj7, Abm7, Db carry the song: iii–IVmaj7–ii7–V relative to Gb, v–VImaj7–iv7–VII relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm7 → Db (ii7 → V in Gb, iv7 → VII in Ebm): ii → V — the classic preparation of the dominant. 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.
Ebru Gündeş - Alev Alev 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: Altan ÇetinMusic: Altan Çetin
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