Tarkan - Unut Beni - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

     Ebm
Uçsuz bucaksız bir çölün ortasındayım
B                    Bb
Dayanılır gibi değil çıkmazdayım
     Ebm
Adım adım izimde yalnızlığım
B                       Bb
Reva mı hep kırık dökük sevdalarım
 
     D#m    G#m     D#m
Ah düşlerim berduş sevgilerim
    G#m         
Kalmadı hiç mecaliniz
D#        G#m          
Dargın ümitlerim
             D#         G#m
Ah yanarım hep virane anılarım
      B 
Bırakmadı yakamı yaslar
    A#
Faydasız dualarım, ah
 
     Bb               Ebm
Geç olmadan vazgeç bırak beni
      Bb                 Ebm
Ardına bile bakma git unut beni
 
Ebm
Unut unut unut beni
   C#m                Bb
Hüznüm yaralar seni dayanamazsın
Bb
Unut unut unut beni
                        Ebm
Üşütür karanlığım alışamazsın
 
          Ebm
Duy feryadımı Tanrım dardayım
    B                     Bb
Bu yol gidilir gibi değil çıkmazdayım
       Ebm
Dayandı kapıma yine arsız yalnızlığım
B                       Bb
Reva mi hep boynu bükük sevdalarım

End of song Play again?

Tarkan - Unut Beni Tabs

NotesX

Harmony analysis

Tarkan – Unut Beni: key and chord analysis

The song opens on Ebm and ends on Bb. 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 Eb minor side because it opens 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	G#m	Supertonic — prepares the dominant	G# · B · D#	4×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	8×
V/vi	A#	Secondary dominant V/vi — leads to Ebmsecondary dominant	A# · D · E#	1×
IV	B	Subdominant — moves away from home	B · D# · F#	5×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
v	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	8×
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	Ebm	Tonic — home	Eb · Gb · Bb	8×
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	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	G#m	Subdominant — moves away from home	G# · B · D#	4×
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×
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#	5×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	—
vii	C#m	Chromatic colour chordoutside the key	C# · E · G#	1×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 8 different chords appear 31 times in total; 4 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 / A# is V/vi, a secondary dominant heading for Ebm. D# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×5
Bb D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×1
G#m D#m Gbii → vi Ebmiv → iminor plagal ×1

The move to watch is Bb → Ebm, heard 5 times. From the Ebm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → 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 Ebm, land on Eb, Gb, Bb — 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.
Over B, land on B, 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 up

The song's harmonic story

The opening Ebm lays a solid floor for everything that follows. Ebm, Bb, B, G#m carry the song: vi–V/vi–IV–ii relative to Gb, i–V–VI–iv 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 Bb → Ebm (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bb; 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.