Mor ve Ötesi - Son Giden - Chord

Key Gb major – Eb minor Chords F#, B, A#m, C#, G#, Bm, D, G#m … Easy key C (capo 6)

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Capo 0

F#                  B
Güneyin masum bir sahil evinde 
F#                   B 
Aynı kırgın dalgayla öldürülmüşken 
F#                    B
Lütfen bırak tepinsinler üstümde 
        F#         B
Bunu çoktan hak ettim 

F#                   B
Önce sustum ardından yalan söyledim 
F#               B
Sonrası isteksiz saatler günler 
F#                    B 
Tüm direncimle eşsiz tertemiz yüzüm 
     F#        B
Gitmeye hazırlar 
A#m     B        G#      C#
Dün fazla yarın yok, ne dersen de 

F#     A#m    Bm             F#m  C#  D
Kimse durmaz kimse beklemez, kimse durmaz 
F#    A#m   Bm        C#     D        G  G#
Eskitirler durduğu yerde zamanı, hayatı

F#                      D#m
Nefesler her an yalnız, kırılgan 
F#              G#m      F#
Kime söylesem, kime sarılsam 
F#                                   B
Kim günahkar, ne fark eder, neden bunlar 
B   A#       G#m
Uzakta insanlar

D#     Gm     G#m            D#m  C#   G#
Kimse durmaz kimse beklemez, kimse durmaz 
D#    Gm   G#m     A#m        B
Eskitirler durduğu yerde zamanı
F#     A#m    Bm             F#m  C#   D
Kimse durmaz kimse beklemez, kimse durmaz 
F#    A#m   Bm        C#     D        G  G#
Eskitirler durduğu yerde zamanı, hayatı

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Mor ve Ötesi - Son Giden Tabs

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Harmony analysis

Mor ve Ötesi – Son Giden: key and chord analysis

The song opens on F# and ends on G#. 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 Gb major side because it opens on Gb, Gb is heard 16 times against 2 for Ebm and the major V chord points straight at Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.

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	F#	Tonic — home	F# · A# · C#	16×
i	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
bII	G	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D	2×
bii	Gm	Chromatic colour chordoutside the key	G · Bb · D	2×
ii	G#m	Supertonic — prepares the dominant	G# · B · D#	4×
V/V	G#	Secondary dominant V/V — leads to C#secondary dominant	G# · B# · D#	4×
iii	A#m	Mediant — a tonic-family shade	A# · C# · E#	6×
V/vi	A#	Secondary dominant V/vi — leads to D#msecondary dominant	A# · D · E#	1×
IV	B	Subdominant — moves away from home	B · D# · F#	12×
iv	Bm	Minor iv — borrowed from the parallel minorborrowed chord	B · D · F#	4×
V	C#	Dominant — strongest pull home	C# · E# · G#	6×
bVI	D	Borrowed from the parallel minorborrowed chord	D · F# · A	4×
vi	D#m	Relative minor — the melancholy side	D# · F# · A#	2×
V/ii	D#	Secondary dominant V/ii — leads to G#msecondary dominant	D# · G · A#	2×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	D#m	Tonic — home	D# · F# · A#	2×
V/iv	D#	Secondary dominant V/iv — leads to G#msecondary dominant	D# · G · A#	2×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	F#	Relative major — the bright side	F# · A# · C#	16×
iii	F#m	Chromatic colour chordoutside the key	F# · A · C#	2×
#III	G	Chromatic colour chordoutside the key	G · B · D	2×
#iii	Gm	Chromatic colour chordoutside the key	G · Bb · D	2×
iv	G#m	Subdominant — moves away from home	G# · B · D#	4×
IV	G#	Major IV — Dorian / melodic-minor colourmodal colour	G# · B# · D#	4×
v	A#m	Minor dominant — soft pull	A# · C# · E#	6×
V	A#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A# · D · E#	1×
VI	B	Submediant — warm colour	B · D# · F#	12×
vi	Bm	Chromatic colour chordoutside the key	B · D · F#	4×
VII	C#	Subtonic — steps back to the tonic	C# · E# · G#	6×
#VII	D	Chromatic colour chordoutside the key	D · F# · A	4×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 14 different chords appear 67 times in total; 6 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 A# is V/vi, a secondary dominant heading for Ebm. G#, D# act as secondary dominants, briefly pointing at another chord of the key. Bm, D, G are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B F# GbIV → Iplagal cadence EbmVI → III ×8
C# F# GbV → Iauthentic cadence EbmVII → III ×1
G#m D#m Gbii → vi Ebmiv → iminor plagal ×1

The move to watch is B → F#, heard 8 times. From the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Ebm side it is VI → III. 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 F#, land on F#, A#, C# — 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 A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
When A# comes, swap the scale's Db for D: that single note is the harmonic-minor sound of the chord.
On Bm, follow the chord's notes (B · D · F#) rather than the key's scale — it's a borrowed colour.

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 F#, the song gives away its key from the very first bar. F#, B, A#m, C# carry the song: I–IV–iii–V relative to Gb, III–VI–v–VII relative to Ebm. D# is the interesting twist: in Gb it is a chromatic chord (V/ii), while in Ebm it becomes the dominant (V/iv) that makes the minor side sound so determined. Keep an ear on B → F# (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. It closes on G#, letting the Gb 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.