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)
Tuana - Bırak Öleyim Çağan Şengül - Chord
Key Gb major – Eb minor Chords Abm, B, Bbm, Ebm Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
B Abm
Hiç korkun yok, beni kaybettin
Ebm Bbm
İçime gün doğmazken, sen yine sessizdin
B Abm
Gözükmüyor öfkem çok, dağlar gibi aşkımdan
Ebm Bbm
Bi tek seni söylerim, yüzlerce şarkımdan
B Abm
Nolur sevme, içimde bir kış soğuğu
Ebm
Geri gelir mi yaz günüm
Bbm
Beklersem unutur muyum
B Abm
Ne olur söyle, yerime koydun mu onu
Ebm Bbm
İyi misin uyku tuttu mu bilmek isterdim bunu
B
Sana olan aşkım beni darma duman
Abm Bbm
Etti yine arda bakan oldum
Abm
Bu seni durdurmaz
B
Yine bana kaldı hep yalan dolan
Abm Bbm
Yaşanmıyor sen olmadan artık
Abm
Dönsen bile bu beni kurtarmaz
B
Sana olan aşkım beni darma duman
Abm Bbm
Etti yine arda bakan oldum
Abm
Bu seni durdurmaz
B
Yine bana kaldı hep yalan dolan
Abm Bbm
Yaşanmıyor sen olmadan artık
Abm
Dönsen bile bu beni kurtarmaz
Ebm
Bırak öleyim
End of song Play again?
Tuana - Bırak Öleyim Çağan Şengül Tabs
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Harmony analysis
Tuana – Bırak Öleyim Çağan Şengül: key and chord analysis
The song opens on B 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 comes to rest on Ebm and Ebm is heard 5 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 | 12× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 8× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 8× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 5× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 5× |
| 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 | 12× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 8× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 8× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 33 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
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×5
The move to watch is Abm → Ebm, heard 5 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, 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
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening B lays a solid floor for everything that follows. The backbone is Abm, B, Bbm, Ebm — ii–IV–iii–vi from the Gb side, iv–VI–v–i from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. 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.
Tuana - Bırak Öleyim Çağan Şengül 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: Tuana Yılmaz, Çağan ŞengülMusic: Tuana Yılmaz, Çağan ŞengülArrangement: Burak Bedirli
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