Eypio - Ömrüm - Chord

Key Gb major – Eb minor Chords Abm7, Bmaj7, Db7, Bb7, B7 Easy key G

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Capo 0

Abm7  Db7  Abm7

                                    Bmaj7
Öyle bir ağırlık var benim hep üstümde 
                  Abm7
Onlara ben küstüm de
                   Db7
Hatam var her özrümde
               Abm7
Günahım var da ben ondan korkmam

                                   Bmaj7
Tutmadım mı söyle ben seni el üstünde
                Abm7
Onlara bu suçlu de
                  Db7
Yalanmış her sözünde
               Abm7
Haberim var da her bir durumdan

Bmaj7
Ya vur beni ya da bu yükü al üstümden
                Abm7
Ateşim külüm de sen, dikensin gülüm desem
                Bb7
Gitmez ki burda her şey yolunda

                                  Bmaj7
Çözülür işler de basit bi kulum desen
                     Abm7
Çektiğim her zulümde sen, bi kere gülümsesen
                 Bb7
O zaman demek ki işler yolunda 

Bmaj7                          Abm7
Çizerim üstünü sonra da hatırlamam
                  Db7
Demek ki geçmiş zaman
Abm7              B7
Haber yok yeraltından

Bmaj7                              Abm7
Bu kurda ormanda inan ki her yer kapan
                    Abm7
Çok gördüm yoldan sapan
Abm7              B7
Çıkış yok yeraltından

Bmaj7
Ya vur beni ya da bu yükü al üstümden
                Abm7
Ateşim külüm de sen, dikensin gülüm desem
                Bb7
Gitmez ki burda her şey yolunda

                                  Bmaj7
Çözülür işler de basit bi kulum desen
                     Abm7
Çektiğim her zulümde sen, bi kere gülümsesen
                 Bb7
O zaman demek ki işler yolunda 

  Bmaj7         Abm7
Ömrüm, ömrüm, ömrüm
  Db7      Bmaj7       B7
Yalan dünyada neler gördüm
  Bmaj7         Abm7
Ömrüm, ömrüm, ömrüm
   Db7       Bmaj7          B7
Bu aşkta ben Veysel gibi kördüm

End of song Play again?

Eypio - Ömrüm Tabs

NotesX

Harmony analysis

Eypio – Ömrüm: key and chord analysis

The song opens on Abm7 and ends on B7. 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)
#7 = D (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 Eb minor side because the major V chord points straight at Ebm. 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	—
ii7	Abm7	Supertonic — prepares the dominant	Ab · Cb · Eb · Gb	17×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
III7	Bb7	Chromatic colour chordoutside the key	Bb · D · F · Ab	4×
IVmaj7	Bmaj7	Subdominant — moves away from home	B · D# · F# · A#	12×
IV7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	4×
V7	Db7	Dominant — strongest pull home	Db · F · Ab · Cb	6×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	—
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	—
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv7	Abm7	Subdominant — moves away from home	Ab · Cb · Eb · Gb	17×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	—
V7	Bb7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F · Ab	4×
VImaj7	Bmaj7	Submediant — warm colour	B · D# · F# · A#	12×
VI7	B7	Chromatic colour chordoutside the key	B · D# · F# · A	4×
VII7	Db7	Subtonic — steps back to the tonic	Db · F · Ab · Cb	6×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 43 times in total; 3 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull. B7 step outside the scale as colour chords.

Chord movement

Abm7 Db7 Gbii7 → V7ii → V Ebmiv7 → VII7 ×6
Abm7 Bb7 Gbii7 → III7 Ebmiv7 → V7iv → V ×4

The move to watch is Abm7 → Db7, heard 6 times. From the Ebm side it is iv7 → VII7; from the Gb side it reads ii7 → V7 (ii → V: the classic preparation of the dominant). 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 Abm7, land on Ab, Cb, Eb — 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.
Over Db7, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
When Bb7 comes, swap the scale's Db for D: 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 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

The first chord is Abm7; the ear learns where home is within a second. Abm7, Bmaj7, Db7, Bb7 carry the song: ii7–IVmaj7–V7–III7 relative to Gb, iv7–VImaj7–VII7–V7 relative to Ebm. Bb7 is the interesting twist: in Gb it is a chromatic chord (III7), while in Ebm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Abm7 → Db7 (ii7 → V7 in Gb, iv7 → VII7 in Ebm): ii → V — the classic preparation of the dominant. Ending on B7, 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.