Simge - Yalnız Başına - Chord

Key Gb major – Eb minor Chords Abm7, Bbm, Bmaj7, Bbm7, Abm, Ebm7, Ebm, Gbmaj7 … Easy key C (capo 6)

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Capo 0

Ebm7               Abm7
Bin ah edip hayatın karşısında
Bmaj7         Bbm
Öylece kalakaldım
Ebm                Abm7
Seyredip durdum eskide ne varsa
  Bmaj7       Bbm
Yalnızca bende aşktın

Bmaj7  Bbm  Abm7  Gbmaj7
Oooo

Bbm 
Bakalım ne kadar da doğruymuş
                           Abm
Dünden sonra yarın olur mu yalnız başına

Yalnız başına

Bbm
Yalanların da masum muymuş
                            Abm
Seni sevmek bu kadar zor mu yalnız başına
Gb  Abm7  Bbm7
Yalnız başına

Bmaj7  Bbm7  Abm7  Bbm7

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Harmony analysis

Simge – Yalnız Başına: key and chord analysis

The song opens on Ebm7 and ends on Bbm7. 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)

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. 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
Imaj7	Gbmaj7	Tonic — home	Gb · Bb · Db · F	1×
I	Gb	Tonic — home	Gb · Bb · Db	1×
ii7	Abm7	Supertonic — prepares the dominant	Ab · Cb · Eb · Gb	5×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	2×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	5×
iii7	Bbm7	Mediant — a tonic-family shade	Bb · Db · F · Ab	3×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IVmaj7	Bmaj7	Subdominant — moves away from home	B · D# · F# · A#	4×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi7	Ebm7	Relative minor — the melancholy side	Eb · Gb · Bb · Db	1×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	1×
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	1×
i	Ebm	Tonic — home	Eb · Gb · Bb	1×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
IIImaj7	Gbmaj7	Relative major — the bright side	Gb · Bb · Db · F	1×
III	Gb	Relative major — the bright side	Gb · Bb · Db	1×
iv7	Abm7	Subdominant — moves away from home	Ab · Cb · Eb · Gb	5×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	2×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	5×
v7	Bbm7	Minor dominant — soft pull	Bb · Db · F · Ab	3×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VImaj7	Bmaj7	Submediant — warm colour	B · D# · F# · A#	4×
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 23 times in total; 9 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

Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1

The move to watch is Bbm → Ebm, heard once. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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 Abm7, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Bmaj7, land on B, D#, F# — 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

Starting on Ebm7, the song gives away its key from the very first bar. The chords that keep coming back are Abm7, Bbm, Bmaj7, Bbm7; read them as ii7–iii–IVmaj7–iii7 in Gb or iv7–v–VImaj7–v7 in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm7, 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.