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)
Cengiz Kurtoğlu - Elimdeki Resmin - Chord
Key Gb major – Eb minor Chords D#m, G#m, Bb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
D#m Yaşama sevincime G#m D#m Nefesin hayat verir D#m Kar yağdı yüreğime G#m D#m Sen geldiğinde erir Bb G#m Yollar girdi araya Bb D#m Hasretle yanar oldum Bb G#m Bu günlerde ben seni Bb D#m Ölesiye arar oldum D#m G#m Elimdeki resmin yerine D#m Bb Kendin olsaydın G#m D#m Olsaydın da benim yine Bb D#m Derdim olsaydın
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Cengiz Kurtoğlu - Elimdeki Resmin Tabs
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Harmony analysis
Cengiz Kurtoğlu – Elimdeki Resmin: key and chord analysis
The song opens on D#m and ends on D#m. 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 it both starts and finishes on Ebm, Ebm is heard 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 6× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | 6× |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 10× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 10× |
| 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# | 6× |
| 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 | 6× |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 22 times in total; 2 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
- G#m D#m Gbii → vi Ebmiv → iminor plagal ×4
- Bb D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×3
- G#m Bb Gbii → V/vi Ebmiv → Viv → V ×2
The move to watch is G#m → D#m, heard 4 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 D#m, land on D#, F#, A# — 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 down · capo 1 keeps the original pitch
The song's harmonic story
Starting on D#m, the song gives away its key from the very first bar. D#m, G#m, Bb carry the song: vi–ii–V/vi relative to Gb, i–iv–V 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 G#m → D#m (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. Ending on D#m, 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.
Cengiz Kurtoğlu - Elimdeki Resmin 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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