Emre Nalbantoğlu - Gülerim Halime - Chord

Key Db major – Bb minor Chords Ab, Gb, Ebm7, Bbm7 Easy key G (capo 6)

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Capo 0

Ab
Nolur nolmaz şişşş, benim halimin adı
Gb
Doldum oldum hiç, çaktım alime çalım
Ab
Görülmez olmuş düş, deli derdin gamı
Gb
Sakin yavrum hişş,  para bulmuş zalım

Ab
Malum olmuş aşk, gül değmiş ele
Gb
Bal çanağından, nasip olmuş dile
Ab
Öp dudağından, haram alsın ateş
Gb
Mis kucağında, yine doğsun güneş

Ebm7                         Bbm7
Ben yine gülerim halime, vay halime
Ebm7                         Bbm7
Belki de gelirim yanına, yar yanına
Ebm7                        Bbm7
Ah yine düştüm derdine, vay derdine
Ebm7                       Bbm7    Ab
Gelsem girsem koynuna, yar koynuna 

Ab
Saçma sapan iş, başımıza gelen
Gb
Ne söylersen suç, yok cevabı bilen
Ab
Zardır zordur şans, hadi gelsin düşeş
Gb
Bizde olmaz boş, selamlar düşes

Ab
Geldim gördüm vay, yen’cem ettim niyet
Gb
Yanımda yarim var, yine öptüm evet
Ab
Yolundan dönmez aşk, gönül almış ateş
Gb
Mis kucağında, yine doğsun güneş

Ebm7                         Bbm7
Ben yine gülerim halime, vay halime
Ebm7                         Bbm7
Belki de gelirim yanına, yar yanına
Ebm7                        Bbm7
Ah yine düştüm derdine, vay derdine
Ebm7                       Bbm7    Ab
Gelsem girsem koynuna, yar koynuna

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Emre Nalbantoğlu - Gülerim Halime Tabs

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Harmony analysis

Emre Nalbantoğlu – Gülerim Halime: key and chord analysis

The song opens on Ab and ends on Ab. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 8 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	8×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	8×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	10×
vi7	Bbm7	Relative minor — the melancholy side	Bb · Db · F · Ab	8×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i7	Bbm7	Tonic — home	Bb · Db · F · Ab	8×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv7	Ebm7	Subdominant — moves away from home	Eb · Gb · Bb · Db	8×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	8×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	10×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 34 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

Ebm7 Bbm7 Dbii7 → vi7 Bbmiv7 → i7minor plagal ×8
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×6

The move to watch is Ebm7 → Bbm7, heard 8 times. From the Bbm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Db side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
Over Gb, land on Gb, Bb, Db — 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.

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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening Ab lays a solid floor for everything that follows. The chords that keep coming back are Ab, Gb, Ebm7, Bbm7; read them as V–IV–ii7–vi7 in Db or VII–VI–iv7–i7 in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm7 → Bbm7 (ii7 → vi7 in Db, iv7 → i7 in Bbm): minor plagal — deep and melancholic. Ending on Ab, the song seals Db 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.