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)
Sancak - Seni Son Anlatışım - Chord
Key Gb major – Eb minor Chords Ebm, Abm, Db, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Abm Db B Bir başkası duysun beni Ya da bir başkası anlasın hissettiğimi, istemem Seni anlatıp durdum insanlara Başkası sevsin beni Ya da bir başkası uyansın kollarımda, istemem Seni yeni bıraktım topraklara Sana acıyarak baktıklarında dayanamıyorum 'Aslında burada o' diyorum Ama beni de susturuyorlar en sonunda Geri getiremem ama bitmesin de Beni de düşün, yanlış anlamanı istemem Seni bu son anlatışım insanlara Gel ve uzan omuzlarıma, gidelim umutlara doğru Alalım bulutları da, ver elini, korkma hiç ne olur Gelirim bir gün yanına, yaşamak gelmiyor içimden Yazıyorum hep seni bak, okuyorum göklere doğru Eğer göreceksem seni Sebebi ölümse bunun ben bir saniye bile beklemem Seni değişemem ki dünyalara Ki sen seveceksen beni Burada sensiz kalıp yaşlanmayı bile beklemem Beni bıraksınlar topraklara Sana acıyarak baktıklarında dayanamıyorum 'Aslında burada o' diyorum Ama beni de susturuyorlar en sonunda Geri getiremem ama bitmesin de Beni de düşün, yanlış anlamanı istemem Seni bu son anlatışım insanlara Gel ve uzan omuzlarıma, gidelim umutlara doğru Alalım bulutları da, ver elini, korkma hiç ne olur Gelirim bir gün yanına, yaşamak gelmiyor içimden Yazıyorum hep seni bak, okuyorum göklere doğru
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Sancak - Seni Son Anlatışım Tabs
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Harmony analysis
Sancak – Seni Son Anlatışım: key and chord analysis
The song opens on Ebm and ends on B. 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 opens on Ebm and Ebm is heard 1 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 | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 1× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 1× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 1× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 1× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 1× |
| 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 | 1× |
| 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 | — |
| VI | B | Submediant — warm colour | B · D# · F# | 1× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 1× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 4 times in total; 4 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
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
The move to watch is Abm → Db, heard once. From the Ebm side it is iv → VII; from the Gb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Abm, land on Ab, Cb, Eb — 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.
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 up
- 4 semitones down · capo 4 keeps the original pitch
The song's harmonic story
Starting on Ebm, the song gives away its key from the very first bar. The backbone is Ebm, Abm, Db, B — vi–ii–V–IV from the Gb side, i–iv–VII–VI from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Db (ii → V in Gb, iv → VII in Ebm): ii → V — the classic preparation of the dominant. The final chord is B; the ear comes to rest in Gb.
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.
Sancak - Seni Son Anlatışım 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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