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)
Simge - Mucize - Chord
Key Gb major – Eb minor Chords G#m7, Ebm7, Db7, Bbm7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm7
İçindeydi çiçeklerim
G#m7
Zamanı vardı her şeyin biliyordum
Ebm7
İzledim penceremde, besledim düşlerimle
G#m7
Elbet bu küçük kara bulutlar dağılır diyordum
Ebm7
Kalbim boş, ruh ikizimi arıyor
G#m7
Gölgelerime soruyor
Db7 Bbm7
Mucizemi bekliyordum, biliyordum
G#m7 Ebm7
Doğdun içime güneş gibi doğdun
Db7 G#m7
Yapayalnız üşüyordum
Ebm7 Db7
Hiç üzmeyelim bizi nolur nolur
G#m7 Ebm7
Doğdun içime güneş gibi doğdun
Db7 G#m7
Yapayalnız üşüyordum
Ebm7 Db7 G#m7
Hiç üzmeyelim bizi nolur noluuuur
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Simge - Mucize Tabs
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Harmony analysis
Simge – Mucize: key and chord analysis
The song opens on Ebm7 and ends on G#m7. 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 opens on Ebm and Ebm is heard 7 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 | G#m7 | Supertonic — prepares the dominant | G# · B · D# · F# | 8× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 1× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V7 | Db7 | Dominant — strongest pull home | Db · F · Ab · Cb | 5× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 7× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 7× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv7 | G#m7 | Subdominant — moves away from home | G# · B · D# · F# | 8× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 1× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII7 | Db7 | Subtonic — steps back to the tonic | Db · F · Ab · Cb | 5× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 21 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
- G#m7 Ebm7 Gbii7 → vi7 Ebmiv7 → i7minor plagal ×6
- G#m7 Db7 Gbii7 → V7ii → V Ebmiv7 → VII7 ×1
The move to watch is G#m7 → Ebm7, heard 6 times. From the Ebm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Gb side it reads ii7 → vi7. 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 G#m7, land on G#, B, D# — the chord's own tones always sound right on strong beats.
- Over Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Db7, land on Db, F, Ab — 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 Ebm7 lays a solid floor for everything that follows. The chords that keep coming back are G#m7, Ebm7, Db7, Bbm7; read them as ii7–vi7–V7–iii7 in Gb or iv7–i7–VII7–v7 in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G#m7 → Ebm7 (ii7 → vi7 in Gb, iv7 → i7 in Ebm): minor plagal — deep and melancholic. Ending on G#m7, 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.
Simge - Mucize 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: Selim Siyami SümerMusic: Selim Siyami Sümer
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