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)
Ceylan Ertem - Zalım - Chord
Key Gb major – Eb minor Chords Bb, C# Easy key F (capo 1)
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Key: Gb | D#m | Ebm
Capo: 0
Bb Dünya zalımlar dünyası Giden zalım gelen zalım İnsanlığın yüz karası Hayvan gibi ölen zalım Bb Zalım zalım zalım zalım Ne olacak benim halım Zalım zalım zalım zalım Ne olacak benim halım Bb Almış ele arsızlığı Baştan başa yersizliği Bilmem neden hırsızlığı Bilmem neden hırsızlığı Yapan değil bilen zalım Bb Zalım zalım meyhaneler Sarhoş olur divaneler Zalım zalım zalım zalım Ne olacak benim halım Bb Ben insanlar dargınıyım Dertlilerin yorgunuyum C# Bb Sanki felek vurgunuyum Sanki felek vurgunuyum Bu halıma gülen zalım Bu halıma gülen zalım Bb Zalım zalım zalım zalım Ne olacak benim halım Zalım zalım zalım zalım Ne olacak benim halım Bb Sevmem dünya muradını Görenler görmüş tadını Mahzuninin kanadını Mahzuninin kanadını Kırıp kırıp yolam zalım
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Ceylan Ertem - Zalım Tabs
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Harmony analysis
Ceylan Ertem – Zalım: key and chord analysis
The song opens on Bb and ends on Bb. 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)
- #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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | 8× |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 1× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | — |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| 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 | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| 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 | 8× |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 1× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 2 different chords appear 9 times in total; 1 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.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, G# — 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
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Bb, the song gives away its key from the very first bar. The chords that keep coming back are Bb, C#; read them as III–V in Gb or V–VII in Ebm. Bb is the interesting twist: in Gb it is a chromatic chord (III), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. It closes on Bb, 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.
Ceylan Ertem - Zalım 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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