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)
Hopera - Zalim - Eftalya Yağcı - Chord
Key Gb major – Eb minor Chords Ebm, Db, Abm, Bmaj7 Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Db Abm Bmaj7
Ebm
Sarsan bedenimi yarim
Db
Dayanamam kalmadı halim
Abm
Niye bunu bana yapıyorsun zalim
Bmaj7 Ebm
Artık boynunadır vebali aaaa
Db Abm
Kalmadı mecalim aaa
Bmaj7 Ebm
Niye bunu bana yapıyorsun zalim
x2
Ebm Db
İndi bindiğim
Abm
Beni dinlemedin
Bmaj7
Sevgim yetmezmiş
Ebm
Bunu bilemedim
Db
Bir söz vermiştik
Abm
Onu silemezsin
Bmaj7
Artık dön sen de
Ebm Db
Beni göremezsiiiiiin
Abm Bmaj7
Seni göremezsiiiiiiin
Ebm
Seni beni göremezsin
Ebm
Sarsan bedenimi yarim
Db
Dayanamam kalmadı halim
Abm
Niye bunu bana yapıyorsun zalim
Bmaj7 Ebm
Artık boynunadır vebali aaaa
Db Abm
Kalmadı mecalim aaa
Bmaj7 Ebm
Niye bunu bana yapıyorsun zalim
x2
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Hopera - Zalim - Eftalya Yağcı Tabs
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Harmony analysis
Hopera – Zalim - Eftalya Yağcı: key and chord analysis
The song opens on Ebm and ends on Ebm. 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: to us the song feels closer to the Eb minor side because it both starts and finishes on Ebm and Ebm is heard 11 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 8× |
| 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# | 8× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 8× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 11× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 11× |
| 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 | 8× |
| 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# | 8× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 8× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 35 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
- Bmaj7 Ebm GbIVmaj7 → vi EbmVImaj7 → iVI → i ×8
The move to watch is Bmaj7 → Ebm, heard 8 times. From the Ebm side it is VImaj7 → i (VI → i: falls a half step into home); from the Gb side it reads IVmaj7 → vi. 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Abm, 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 Ebm, the song gives away its key from the very first bar. Ebm, Db, Abm, Bmaj7 carry the song: vi–V–ii–IVmaj7 relative to Gb, i–VII–iv–VImaj7 relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bmaj7 → Ebm (IVmaj7 → vi in Gb, VImaj7 → i in Ebm): VI → i — falls a half step into home. It closes on Ebm, letting the Ebm 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.
Hopera - Zalim - Eftalya Yağcı 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: Umut GünaydınoğluMusic: Umut GünaydınoğluArrangement: İlkan Günüç
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