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)
Emrah Karaduman - Ara Beni (Çağla) - Chord
Key Gb major – Eb minor Chords Bbm, Abm, Ebm, Gb, Db, F Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm Abm Biz senle ne geceler yasadık Bbm Abm Fırtınalar koptu gövdemizde Ebm Derken bıçak gibi kesip gittin Bbm Abm Ben sormadım sen söylemedin Bbm Abm Senden sonra da oldu aşklarım Bbm Abm Ama inan yok hic eski tadım Ebm Neden bıçak gibi kesip gittin Bbm Abm Ben sormadım sen söylemedin Ebm Bbm Ara beni her canın istediğin de Ebm Bbm Çılgın şeyler aklına geldiğin de Gb Abm Bulursun aynı aşkı bende Gb F Ebm Ara beni fazla bekletme Db Ebm Ara beni öptum seni seni Db Ebm Abm Bbm Çok özledim, deli gibi
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Emrah Karaduman - Ara Beni (Çağla) Tabs
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Harmony analysis
Emrah Karaduman – Ara Beni (Çağla): key and chord analysis
The song opens on Bbm and ends on Bbm. 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 Ebm is heard 7 times against 2 for Gb. 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 | 2× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 8× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 9× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 7× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| V/iii | F | Secondary dominant V/iii — leads to Bbmsecondary dominant | F · A · C | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 7× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| V/v | F | Secondary dominant V/v — leads to Bbmsecondary dominant | F · A · C | 1× |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 2× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 8× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 9× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 29 times in total; 5 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×3
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×2
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1
The move to watch is Abm → Ebm, heard 3 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 Bbm, land on Bb, Db, F — 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 Ebm, land on Eb, Gb, Bb — 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The backbone is Bbm, Abm, Ebm, Gb — iii–ii–vi–I from the Gb side, v–iv–i–III from the Ebm side. F adds a moment of surprise: secondary dominant V/iii — leads to Bbm. Keep an ear on Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. It closes on Bbm, 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.
Emrah Karaduman - Ara Beni (Çağla) 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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