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)
Ceren Gündoğdu - Şuracıkta - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, Abm, Bmaj7, Db Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Bbm Abm
Seni görsem karşımda, ölebilirim şuracıkta
Bbm Ebm
Bi' kez öpsen yanağımdan usulca
Sesimi duyan biri var mı?
Bbm
Hava niye böyle karardı?
Abm Bbm Ebm
Boşuna çekilmedi bunca sıkıntı
Ebm
Aramadığım yer yoktu
Bbm
Seni bulmak ne zor oldu
Abm Bbm Ebm
Sonra talih bizi yan yana koydu
Ebm Bbm Abm
Seni görsem karşımda, ölebilirim şuracıkta
Bbm Ebm
Bi' kez öpsen yanağımdan usulca
Onlara kalsın dünya
Bbm Abm
Bize yeter ah bi' göz oda
Bbm Ebm
Hadi gel bekliyorum geç kalma
Ebm Db
Beklemek seni, koklamak gibi
Bmaj7 Bbm
En güzel bi' çiçeği
Abm Bbm Ebm
Hasretin beni mahveder geceleri
Ebm
Duymuyor beni
Db Bmaj7 Bbm
Bir dua gibi ezberimdedir ismi
Abm Bbm Bmaj7
Tam zamanı, tam yeri haydi
Ebm Bbm Abm
Seni görsem karşımda, ölebilirim şuracıkta
Bbm Ebm
Bi' kez öpsen yanağımdan usulca
A-a-ah onlara kalsın dünya
Bbm Abm
Bize yeter ah bi' göz oda
Bbm Ebm
Hadi gel bekliyorum, e hadi)
Bmaj7 Bbm Abm Bbm Bmaj7 Bbm Ebm
ooo Şu ra cık ta
End of song Play again?
Ceren Gündoğdu - Şuracıkta Tabs
NotesX
Harmony analysis
Ceren Gündoğdu – Şuracıkta: key and chord analysis
The song opens on Ebm and ends on Ebm. 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 15 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 | 10× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 21× |
| 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# | 5× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 15× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 15× |
| 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 | 10× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 21× |
| 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# | 5× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 53 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×9
- Bmaj7 Ebm GbIVmaj7 → vi EbmVImaj7 → iVI → i ×1
The move to watch is Bbm → Ebm, heard 9 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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 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 opening Ebm lays a solid floor for everything that follows. Bbm, Ebm, Abm, Bmaj7 carry the song: iii–vi–ii–IVmaj7 relative to Gb, v–i–iv–VImaj7 relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Ebm, letting the Ebm 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.
Ceren Gündoğdu - Şuracıkta 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: Ceren GündoğduMusic: Ceren GündoğduArrangement: Ceren Gündoğdu, Altuğ Öncü
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