Hadise - Gece Puslu - Chord

Key Gb major – Eb minor Chords Db, Ebm, Bmaj7, Abm Easy key G

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Capo 0

Ebm  Db

Ebm
Seni benden kimler almış

Gece puslu ay karanlık
Db
Tutabilsem ellerinden

Hayat işte koca bir bataklık

Ebm
Yağmurlar var içimde görsen

Ben seni kendimden sakınırken
Db
Yine sağa sola savuruyor bak rüzgar

Sağanak sağanak ıslandım ben
Bmaj7
Kendini sır gibi saklama artık
Abm
Ortada her şey en derine battık
Db
Ruhum zaten savaşıyo burda

Gerçek sandım oysa yalandın

Ebm
Seni benden almasın gece bana sormadan
Db
Ama baştan söyleyim gidemezsin sonradan
Bmaj7
Beni bir tek sen duyardın

Biliyordum çok yakındın
Db
Unut artık geçmişi boşver

Başlayalım mı gel en baştan

Ebm  Db  Bmaj7  Db

Ebm
Ne dediğin hiç umrumda değil

Sana yine koşa koşa gelmeliyim ben
Db
Bide kendime şunu söylerim artık

Seni yine bile bile kaybedemem ben
Bmaj7
Belki de yok yere sonumuzu yazdık
Abm
Bakmayı bilmez e birazda saftık
Db
Korktuk belki bocaladık aşkta

Bitmez sandık oysa yanıldık

Ebm
Seni benden almasın gece bana sormadan
Db
Ama baştan söyleyim gidemezsin sonradan
Bmaj7
Beni bir tek sen duyardın

Biliyordum çok yakındın
Db
Unut artık geçmişi boşver

Başlayalım mı gel en baştan

End of song Play again?

Hadise - Gece Puslu Tabs

NotesX

Harmony analysis

Hadise – Gece Puslu: key and chord analysis

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

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)

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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	2×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
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	12×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	7×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	7×
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	2×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
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	12×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 26 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

Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×6
Bmaj7 Db GbIVmaj7 → VIV → V EbmVImaj7 → VIIVI → VII ×3
Abm Db Gbii → Vii → V Ebmiv → VII ×2

The move to watch is Db → Ebm, heard 6 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 Db, land on Db, F, Ab — 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 Bmaj7, land on B, D#, 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

Starting on Ebm, the song gives away its key from the very first bar. The chords that keep coming back are Db, Ebm, Bmaj7, Abm; read them as V–vi–IVmaj7–ii in Gb or VII–i–VImaj7–iv in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. Ending on Db, 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.