Zeynep Bastık - Denedim (Tepki) - Chord

Key Gb major – Eb minor Chords B, Bb, Ebm7, Abm7, Bbm, Em, Am, Bm … Easy key C (capo 6)

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Capo 0

Ebm7  Ebm7  Abm7  Bbm
B  B  Bb  Bb  B  B  Bb  Bb

Ebm7            Abm7          Bbm   Ebm7
   Denedim, denedim, denedim, denediim
    Abm7      Bbm  B
Denedim, denedim,  kopucak ellerimiz
       Bb
Bu kalıcak Tanrı'nın yanına
   B
Bu kaçıncı denememiz
       Bb
Yine çıkamıyoruz yarına

         Ebm7
Bu benim gökyüzüm olamaz
          Abm7          Bbm
Ne güneş, ne bulut, ne umut var
         Ebm7
Bu benim gökyüzüm olamaz
        Abm7          Bbm
Ne sema ne de aile, huzur var
        B                      Bb
Gitgide daha derine, düşüyoruz en derine
                  B
Kendimi bırakırım ellerine
         Bb
Koymasam el yerine

                     Ebm7
Bikaç kelime takılır kulağıma, nefes alamam
           Abm7                  Bbm
Büyüğü yaralar, alışırım buna da bu aralar
Ebm7
Kaç sene, kaç acı, kaç anı var
Abm7          Bbm          B
Hepsini koymuşuz çantamızaaa
                      Bb
Yüreğim taş oluyo iyice
                       B
Hiçbi şey kalmadı diyecek
        
Yine bu şehir bize kalıcak
Bb                              Ebm7
Kaç dize daha yazılır ki bu şiire

Em              Am            Bm    Em
   Denedim, denedim, denedim, denediim
    Am        Bm   C
Denedim, denedim,  kopucak ellerimiz
       B
Bu kalıcak Tanrı'nın yanına
   C
Bu kaçıncı denememiz
       B
Yine çıkamıyoruz yarına

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Zeynep Bastık - Denedim (Tepki) Tabs

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Harmony analysis

Zeynep Bastık – Denedim (Tepki): key and chord analysis

The song opens on Ebm7 and ends on B. 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 9 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	—
ii7	Abm7	Supertonic — prepares the dominant	Ab · Cb · Eb · Gb	7×
biii	Am	Chromatic colour chordoutside the key	A · C · E	2×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	7×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	10×
IV	B	Subdominant — moves away from home	B · D# · F#	12×
iv	Bm	Minor iv — borrowed from the parallel minorborrowed chord	B · D · F#	2×
#IV	C	Chromatic colour chordoutside the key	C · E · G	2×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi7	Ebm7	Relative minor — the melancholy side	Eb · Gb · Bb · Db	9×
bvii	Em	Chromatic colour chordoutside the key	E · G · B	2×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i7	Ebm7	Tonic — home	Eb · Gb · Bb · Db	9×
bii	Em	Chromatic colour chordoutside the key	E · G · B	2×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv7	Abm7	Subdominant — moves away from home	Ab · Cb · Eb · Gb	7×
#iv	Am	Chromatic colour chordoutside the key	A · C · E	2×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	7×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	10×
VI	B	Submediant — warm colour	B · D# · F#	12×
vi	Bm	Chromatic colour chordoutside the key	B · D · F#	2×
#VI	C	Chromatic colour chordoutside the key	C · E · G	2×
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). 9 different chords appear 53 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 is V/vi, a secondary dominant heading for Ebm. Bm is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb Ebm7 GbV/vi → vi7 EbmV → i7harmonic-minor cadence ×4
Bbm Ebm7 Gbiii → vi7 Ebmv → i7natural-minor cadence ×3

The move to watch is Bb → Ebm7, heard 4 times. From the Ebm side it is V → i7 (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → vi7. 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 B, land on B, D#, F# — 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 Ebm7, land on Eb, Gb, Bb — 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.
On Bm, follow the chord's notes (B · D · F#) rather than the key's scale — it's a borrowed colour.

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

Starting on Ebm7, the song gives away its key from the very first bar. The backbone is B, Bb, Ebm7, Abm7 — IV–V/vi–vi7–ii7 from the Gb side, VI–V–i7–iv7 from the Ebm side. 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 → Ebm7 (V/vi → vi7 in Gb, V → i7 in Ebm): harmonic-minor cadence — the major V resolves dramatically. It closes on B, 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.

Zeynep Bastık - Denedim (Tepki) 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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Lyrics: Tepki

Music: Tepki

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