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 Demir - Karakış - Chord
Key Gb major – Eb minor Chords Abm7, B7, Bb7, Ebm7, Bbm7, Db7, B Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Kibariye Versiyon: Ton A - F#m
(Transpoze ettikten sonra ayarlardan kolay akor yapın: F#m7 - F#m olmalı)
Ebm7 Abm7 Db7 B Bbm7
Sevmem ben kara kaşını gözlerini
Ebm7 Abm7 Db7 B Bbm7
Al da götür herşeyini bana bırak sözlerini
Abm7
Sevmekten usanılmaz
B7 Bb7
Sen olmadan bu can dayanmaz
Ebm7 Bbm7
Zamanla geçer sandım
Abm7 B7 Bb7
Karakış gibi çöktün bağrımı yaktın
Ebm7 Bbm7
Zamanla geçer sandım
Abm7 B7 Bb7
Karakış gibi çöktün bağrımı yaktın
Abm7 B7 Bb7
Dermanı kalmadı kalbimin
Abm7 B7 Bb7
Zaman ilacı mı bu halimin?
Abm7 B7 Bb7
Alıp götürdüğün herşeyimi geri ver
Ebm7 Abm7 Db7 B Bbm7
Yandım ben sönemem ilacım sendedir
Ebm7 Abm7 Db7 B Bbm7
İstediğin gitmek olsun başım gözüm üstünedir
Abm7
Sevmekten usanılmaz
B7 Bb7
Sen olmadan bu can dayanmaz
Ebm7 Bbm7
Zamanla geçer sandım
Abm7 B7 Bb7
Karakış gibi çöktün bağrımı yaktın
Ebm7 Bbm7
Zamanla geçer sandım
Abm7 B7 Bb7
Karakış gibi çöktün bağrımı yaktın
End of song Play again?
Mert Demir - Karakış Tabs
NotesX
Harmony analysis
Mert Demir – Karakış: key and chord analysis
The song opens on Ebm7 and ends on Bb7. 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)
- #7 = D (harmonic-minor leading tone from the V chord)
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, Ebm is heard 8 times while Gb never appears and the major V chord points straight at Ebm. 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 | 13× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 8× |
| V7/vi | Bb7 | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F · Ab | 9× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 4× |
| IV7 | B7 | Chromatic colour chordoutside the key | B · D# · F# · A | 9× |
| V7 | Db7 | Dominant — strongest pull home | Db · F · Ab · Cb | 4× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 8× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 8× |
| 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 | 13× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 8× |
| V7 | Bb7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F · Ab | 9× |
| VI | B | Submediant — warm colour | B · D# · F# | 4× |
| VI7 | B7 | Chromatic colour chordoutside the key | B · D# · F# · A | 9× |
| VII7 | Db7 | Subtonic — steps back to the tonic | Db · F · Ab · Cb | 4× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 55 times in total; 5 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb7 is V7/vi, a secondary dominant heading for Ebm. B7 step outside the scale as colour chords.
Chord movement
- Bb7 Ebm7 GbV7/vi → vi7secondary resolution EbmV7 → i7harmonic-minor cadence ×5
- Abm7 Db7 Gbii7 → V7ii → V Ebmiv7 → VII7 ×4
- Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×2
The move to watch is Bb7 → Ebm7, heard 5 times. From the Ebm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V7/vi → vi7 (secondary resolution: Bb7 resolves a fourth up to Ebm7). 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 Abm7, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over B7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Bb7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When Bb7 comes, swap the scale's Db for D: that single note is the harmonic-minor sound of the chord.
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
- 6 semitones up · capo 6 keeps the original pitch
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 Abm7, B7, Bb7, Ebm7; read them as ii7–IV7–V7/vi–vi7 in Gb or iv7–VI7–V7–i7 in Ebm. B7 is the interesting twist: in Gb it is a chromatic chord (IV7), while in Ebm it becomes the dominant (VI7) that makes the minor side sound so determined. Keep an ear on Bb7 → Ebm7 (V7/vi → vi7 in Gb, V7 → i7 in Ebm): harmonic-minor cadence — the major V resolves dramatically. Ending on Bb7, the song seals Gb 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.
Mert Demir - Karakış 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Mert DemirMusic: Mert Demir
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.