Sertab Erener - Bir Damla Gözlerimde - Chord

Key Gb major – Eb minor Chords Ebm, G#m, Bb, Db, B Easy key C (capo 6)

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Capo 0

G#m                Bb      Ebm       Db
Çok geç oldu belki de düşündük taşındık
G#m                  Bb      Ebm    Db
Bir çok şeyi birbirimizden sakındık
G#m                Bb      Ebm       Db
Bir şey eksik cümlede, yüklem mi özlem mi
G#m                 Bb      Ebm     
Sakladığın şey her neyse beni üzer mi

                       B
Öyle çok şey var ki içimde
Db                   Ebm
Hep sustuk konuşmak yerine
                     G#m
Konuşmadığımız her ne varsa
   Bb             Ebm
Seninle sakladım gözlerimde

                      B
Ne olur sende fazla üzülme
Db                  Ebm
Hep kendi kendine yenilme
                    G#m        Bb
Konuşmadığımız her ne varsa seninle
                Ebm
Bir damla gözlerimde    

G#m              Bb        Ebm        Db
Belki yanlış yoldayız, kaybolduk kaybolduk
G#m              Bb        Ebm  Db
Gizleyince kendimizden yorulduk
G#m          Bb     Ebm          Db
Her hatada telafi gerekli değil mi
G#m                Bb    Ebm     
Bizi durduran gurur mu kibir mi

End of song Play again?

Sertab Erener - Bir Damla Gözlerimde Tabs

NotesX

Harmony analysis

Sertab Erener – Bir Damla Gözlerimde: key and chord analysis

The song opens on G#m and ends on Ebm. 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 it comes to rest on Ebm, Ebm is heard 12 times while Gb never appears and 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	—
ii	G#m	Supertonic — prepares the dominant	G# · B · D#	10×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	10×
IV	B	Subdominant — moves away from home	B · D# · F#	2×
V	Db	Dominant — strongest pull home	Db · F · Ab	8×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	12×
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	12×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	G#m	Subdominant — moves away from home	G# · B · D#	10×
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	10×
VI	B	Submediant — warm colour	B · D# · F#	2×
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). 5 different chords appear 42 times in total; 4 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; seen from Gb, the same Bb is V/vi, a secondary dominant heading for Ebm.

Chord movement

Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×10
G#m Bb Gbii → V/vi Ebmiv → Viv → V ×10
Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×2
B Db GbIV → VIV → V EbmVI → VIIVI → VII ×2

The move to watch is Bb → Ebm, heard 10 times. From the Ebm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → 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 G#m, land on G#, B, D# — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
When Bb 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

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

Starting on G#m, the song gives away its key from the very first bar. Ebm, G#m, Bb, Db carry the song: vi–ii–V/vi–V relative to Gb, i–iv–V–VII relative to Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → Ebm (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. 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.