Sena Şener - Defolup Gidelim - Chord

Key Gb major – Eb minor Chords Bmaj7, Db, Ebm, Abm Easy key G

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Capo 0

Ebm   Db        Bmaj7
Yok olmak istiyorum
Ebm        Db        Bmaj7
Senin kollarında, bi deniz kıyısında
  Ebm           Db          Bmaj7
Çırılçıplak kalalım soyunup geçmişi
    Ebm   Db   Bmaj7
Bizi anlamaz onlar  

Ebm   Db        Bmaj7
Yok olmak istiyorum
Ebm        Db        Bmaj7
Senin rüzgarınla, bi Ege adasında
  Ebm          Db           Bmaj7
Sırılsıklam olalım durdurup her şeyi
Ebm      Db    Bmaj7
Bizi anlamaz onlar

Bmaj7  Db    Ebm
Hiiiiiiiiç düşündüğüm gibi gitmedi işler
Bmaj7  Db    Bmaj7
Hiiiiiiiiç istemezdim böyle olmayı

Bmaj7    Db
Sen ve ben
  Ebm                  Abm
Buraya ait değiliz bebeğim
  Db          Bmaj7
Bırakıp her şeyi
            Ebm  Db  Bmaj7
Defolup gidelim 
            Ebm  Db  Bmaj7
Defolup gidelim

Ebm   Db        Bmaj7
Yok olmak istiyorum
Ebm        Db       Bmaj7
Parmak uçlarında, serin bi yaz akşamında
  Ebm            Db                    Bmaj7
Nefes nefese kalalım susturup durdurup her şeyi
    Ebm   Db   Bmaj7
Bizi anlamaz onlar

Bmaj7  Db    Ebm
Hiiiiiiiiç düşündüğüm gibi gitmedi işler
Bmaj7  Db    Bmaj7
Hiiiiiiiiç istemezdim böyle olmayı

Bmaj7    Db
Sen ve ben
  Ebm                  Abm
Buraya ait değiliz bebeğim
  Db          Bmaj7
Bırakıp her şeyi
            Ebm  Db  Bmaj7
Defolup gidelim 
            Ebm  Db  Bmaj7
Defolup gidelim

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Sena Şener - Defolup Gidelim Tabs

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Harmony analysis

Sena Şener – Defolup Gidelim: key and chord analysis

The song opens on Ebm and ends on Bmaj7. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

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)

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 20 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	2×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
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#	26×
V	Db	Dominant — strongest pull home	Db · F · Ab	24×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	20×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	20×
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	2×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
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#	26×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	24×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 72 times in total; 4 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 Ebm GbIVmaj7 → vi EbmVImaj7 → iVI → i ×15
Bmaj7 Db GbIVmaj7 → VIV → V EbmVImaj7 → VIIVI → VII ×6
Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×4
Abm Db Gbii → Vii → V Ebmiv → VII ×2

The move to watch is Bmaj7 → Ebm, heard 15 times. From the Ebm side it is VImaj7 → i (VI → i: falls a half step into home); from the Gb side it reads IVmaj7 → 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 Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — 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.

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

The first chord is Ebm; the ear learns where home is within a second. Bmaj7, Db, Ebm, Abm carry the song: IVmaj7–V–vi–ii relative to Gb, VImaj7–VII–i–iv relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bmaj7 → Ebm (IVmaj7 → vi in Gb, VImaj7 → i in Ebm): VI → i — falls a half step into home. The final chord is Bmaj7; 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.