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)
Irmak Arıcı - Enkaz - Chord
Key Gb major – Eb minor Chords Ebm7, Db, Bmaj7, Bbm7, Bbm, Abm7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm7 Db Bmaj7 Bbm7
x2
Ebm7 Db
Dardayım diye soranım olmadı
Bmaj7 Bbm7
Düştüm kaldıranım olmadı
Ebm7 Db
Ezdi yâr üstümde yarası
Bmaj7 Bbm7
Bu kalp sana daha doymadı
Ebm7 Db
Gönül yandı söndüren olmadı
Bmaj7 Bbm7
Ruhum seni benim sandı
Ebm7 Db
Senin tenin elleri sardı
Bmaj7 Bbm7 Db Bmaj7
Aşk ateşin bir beni yaktıı
Bbm Abm7 Db
Bir beni yaktıı
Niye beni yaktı?
Ebm7 Db
Sakın ha döneyim deme geri
Bmaj7 Bbm7
Ruhum, tenim, bedenim enkaz
Ebm7 Db Bmaj7
Boş sokaklara esir oldum yâr
Ebm7 Db
Bir bilsen sana uyandım
Bmaj7 Bbm7
Geceme gündüz olana kandım
Ebm7 Db Bmaj7 Ebm7
Sandım söndümde ben hala hardım
Ebm7 Db Bmaj7 Bbm7
x2
Ebm7 Db
Ben bi’ sana yandım
Bmaj7 Bbm7
Sandım söndü ateşim
Ebm7 Db
Olmaz olsun sevdan
Bmaj7 Ebm7
Ben hala hardım
End of song Play again?
Irmak Arıcı - Enkaz Tabs
NotesX
Harmony analysis
Irmak Arıcı – Enkaz: key and chord analysis
The song opens on Ebm7 and ends on Ebm7. 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 14 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 | — |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 1× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 9× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 1× |
| 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# | 13× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 14× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 14× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 14× |
| 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 | 1× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 9× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 1× |
| 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# | 13× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 14× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 52 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
- Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×8
- Bmaj7 Ebm7 GbIVmaj7 → vi7 EbmVImaj7 → i7VI → i ×3
- Db Ebm7 GbV → vi7deceptive cadence EbmVII → i7Aeolian arrival ×1
- Abm7 Db Gbii7 → Vii → V Ebmiv7 → VII ×1
The move to watch is Bbm7 → Ebm7, heard 8 times. From the Ebm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii7 → vi7. 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 Ebm7, 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening Ebm7 lays a solid floor for everything that follows. The backbone is Ebm7, Db, Bmaj7, Bbm7 — vi7–V–IVmaj7–iii7 from the Gb side, i7–VII–VImaj7–v7 from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Ebm7 (iii7 → vi7 in Gb, v7 → i7 in Ebm): natural-minor cadence — gentle, modal arrival. Ending on Ebm7, the song seals Ebm 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.
Irmak Arıcı - Enkaz 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: Irmak ArıcıMusic: Sinan Ceceli
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