Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Gökhan Türkmen - Ezberime - Chord
Key Bb major – G minor Chords Ebmaj7, D, Gm, F Easy key C
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Key: Bb | Gm
Capo: 0
Ebmaj7 Ebmaj7 D D
Ebmaj7 D
Umarım iyisindir bunca zamandan sonra
Seni kırdılar mı üzdüler mi
Ebmaj7 D
Susarım adetimdir sen bana sakın bakma
Beni kırmadın da sormadın da
Ebmaj7 D
Yollarına sürgün, kayboldu bir gün
Gm F Ebmaj7
Neydim nasıldım yar, görünce üzüldüm
D Gm
Dallarına kırgın, çiçeklerde açtım yar
F Ebmaj7
Ben mi büyüttüm, sen mi çürüttün
Ebmaj7 Gm D
Nasılda vuruldum beyhude gözlerine
Ebmaj7
Her şeyi sildim de en baştan koydum ellerine
Gm D
Mahvoluyor yüreğim baktıkça benzerine
Ebmaj7
Ezberime
Ebmaj7 Gm D
Nasılda vuruldum beyhude gözlerine
Ebmaj7
Her şeyi sildim de en baştan koydum ellerine
Gm D
Mahvoluyor yüreğim baktıkça benzerine
Ebmaj7
Ezberime
Ebmaj7 Ebmaj7 Gm D D
x2
End of song Play again?
Gökhan Türkmen - Ezberime Tabs
NotesX
Harmony analysis
Gökhan Türkmen – Ezberime: key and chord analysis
The song opens on Ebmaj7 and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 7 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 12× |
| IVmaj7 | Ebmaj7 | Subdominant — moves away from home | Eb · G · Bb · D | 15× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 7× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 7× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 12× |
| VImaj7 | Ebmaj7 | Submediant — warm colour | Eb · G · Bb · D | 15× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 4 different chords appear 36 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm.
Chord movement
- Ebmaj7 Gm BbIVmaj7 → vi GmVImaj7 → iVI → i ×5
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
The move to watch is Ebmaj7 → Gm, heard 5 times. From the Gm side it is VImaj7 → i (VI → i: falls a half step into home); from the Bb side it reads IVmaj7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Ebmaj7, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: that single note is the harmonic-minor sound of the chord.
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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Ebmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Ebmaj7, D, Gm, F; read them as IVmaj7–V/vi–vi–V in Bb or VImaj7–V–i–VII in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Ebmaj7 → Gm (IVmaj7 → vi in Bb, VImaj7 → i in Gm): VI → i — falls a half step into home. It closes on D, letting the Bb 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.
Gökhan Türkmen - Ezberime 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: Mert CarimMusic: Gökhan TürkmenArrangement: Serkan Ölçer, Mert Carim, Gökhan Türkmen
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