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)
Ebru Gündeş - Bende Kalacak - Chord
Key Gb major – Eb minor Chords Bbm7, B, Abm7, Db, Ebm7, Gb Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Bbm7 B Abm7 Bbm7
Bbm7
İçinde bir sızı
Yokluğun bir infilak
B
Kalbim alacaklı
Bir ateşe bakarak
Db
Gülüşüne bir mum
Bbm7
Gidişine bir ağıt yakarak
B
Bendeki bu öfke, sonsuza dek kalacak
Ebm7
Sesin bende
B
Ellerin bende kalacak
Bbm7
Belki yıllar geçer
Belki herkes unutacak
Abm7
Kaybolacak zamanın
B
Küllerinde yüzün
Db
Canım parçası artık
B Bbm7
Bu bitmeyen hüzün
Ebm7 B
Yüzün bende, ellerin bende kalacak
Bbm7
Sen içimde kanarken
Gb
Belki herkes unutacak
B
Kaybolacak zamanın
Abm7
Küllerinde yüzün
Db
Canım parçası artık
B Bbm7
Bu kahreden hüzün
Gb Bbm7
Aşka mühürledim yüreğimi
B
Sevda da yok
Db
Sen yoksan sevda da yok
Gb Bbm7
Yokluğunda nişanladım kendimi
B Bbm7
Artık bana sevmek yok
Abm7 Bbm7
Kimse alamaz yerini
Ebm7 B
Aşkın bende, kalbin bende kalacak
Bbm7
Belki yıllar geçer
Belki herkes unutacak
B
Kaybolacak zamanın
Abm7
Küllerinde yüzün
Db
Canımın parçası artık
B Bbm7
Bu bitmeyen hüzün
End of song Play again?
Ebru Gündeş - Bende Kalacak Tabs
NotesX
Harmony analysis
Ebru Gündeş – Bende Kalacak: key and chord analysis
The song opens on Bbm7 and ends on Bbm7. 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: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor. Try reading the chords both ways and see which feels more like home to you.
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 | 3× |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 5× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 14× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 14× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 5× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 3× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 3× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 3× |
| iv7 | Abm7 | Subdominant — moves away from home | Ab · Cb · Eb · Gb | 5× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 14× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 14× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 5× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 44 times in total; 6 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
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×3
- Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×2
- Abm7 Db Gbii7 → Vii → V Ebmiv7 → VII ×2
- Db Gb GbV → Iauthentic cadence EbmVII → III ×1
- B Ebm7 GbIV → vi7 EbmVI → i7VI → i ×1
The move to watch is B → Db, heard 3 times. From the Gb side it reads IV → V (IV → V: the lift that builds tension before home); from the Ebm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Abm7, land on Ab, Cb, Eb — 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 Bbm7, the song gives away its key from the very first bar. The chords that keep coming back are Bbm7, B, Abm7, Db; read them as iii7–IV–ii7–V in Gb or v7–VI–iv7–VII in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Db (IV → V in Gb, VI → VII in Ebm): IV → V — the lift that builds tension before home. The final chord is Bbm7; the ear comes to rest in Gb.
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.
Ebru Gündeş - Bende Kalacak 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: Yılmaz ErdoğanMusic: Deniz ErdoğanArrangement: Çağlar Kocatepe
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