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)
Key Gb major – Eb minor Chords Bbm, B, Ebm, Fm Easy key C (capo 6)
Bbm B
Sanıyo’ ki herkes ona hayran
Bbm B
Aynada kendine hodri meydan
Bbm
Ama bu sefer nakavt
B
Hisler yalan
Bbm B
Yine yazmış kendine rol falan
Bbm B
Hiç acıman yok mu kendine
Bbm
Sus ve dinle!
Bbm B
Kafamın içinde böyle
Bbm B
Oynuyo’ sanki hislerimle
Bbm B
Hep aynı show hep aynı dans
Bbm B
Gördüm bu filmi son defa
Bbm B
Sana bu gidişle kimse
Bbm B
Kanmaz kopya sözlerinle
Bbm B
Zorlama buydu son rövanş
Bbm B
Sen anca boş laf ama-ama-amatö-tö-tör!
Bbm B Bbm B Bbm B
Bbm B Bbm B
Dur... Sıkılmadım reddetmekten
Bbm B
Seni çok üzdüysem devam edicem
Bbm
Yine bozdum oyunu
Bbm B
Yokmuş rakiplerin
Bbm B
Hiç yokmuş yanlışların
Bbm B
O aşık sandıkların
Bbm B
Gülmeden zor duruyo’
Bbm
Ama bu sefer nakavt
B
Hisler yalan
Bbm B
Yine yazmış kendine rol falan
Bbm B
Hiç acıman yok mu kendine
Bbm
Sus ve dinle!
Bbm B
Kafamın içinde böyle
Bbm B
Oynuyo’ sanki hislerimle
Bbm B
Hep aynı show hep aynı dans
Bbm B
Gördüm bu filmi son defa
Bbm B
Sana bu gidişle kimse
Bbm B
Kanmaz kopya sözlerinle
Bbm B
Zorlama buydu son rövanş
Bbm B
Sen anca boş laf ama-ama-amatö-tö-tör!
Ebm Fm
Taktik maktik işlemez yok
Bbm
Başta inandım bi kere yandım çok
Ebm
İstedim ben istemedim değil
Fm
Kalbimin ortası tuttu buz yeni değil
Bbm
Kurdun tuzaklar, düştün inatla
Yenildin bana Amatör!
End of song Play again?
Harmony analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because Ebm is heard 2 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.
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 | — |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 39× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 34× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 2× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 2× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| ii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 39× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 34× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 77 times in total; 3 of them sit naturally inside the shared scale. Fm step outside the scale as colour chords.
The move to watch is B → Ebm, heard once. From the Ebm side it is VI → i (VI → i: falls a half step into home); from the Gb side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The first chord is Bbm; the ear learns where home is within a second. The backbone is Bbm, B, Ebm, Fm — iii–IV–vi–vii from the Gb side, v–VI–i–ii from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Ebm (IV → vi in Gb, VI → i in Ebm): VI → i — falls a half step into home. Ending on Bbm, 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.
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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