Tuğba Yurt - Nöbetçi - Chord

Key Gb major – Eb minor Chords Bbm7, Bmaj7, Abm7, Db, Ebm, B Easy key C (capo 6)

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Capo 0

Bbm7  Bmaj7  Bbm7  Abm7

Bbm7        Bmaj7
Biz hiç olmadık senle

Bir hayal gördük kayboldu
Bbm7     Bmaj7
Çok güzeldi ama
           Bbm7
Ne yazık ki sonu yoktu

Bbm7        Bmaj7
Biz hiç olmadık senle

Bir hayal gördük kayboldu
Bbm7     Bmaj7
Çok güzeldi ama
           Db
Ne yazık ki sonu yoktu

Ebm             Db
Her kelime yeni bir yangının
    Bmaj7        Bbm7
Sebebi oldu giderken
        Abm7
Dedi ki sen üzülme yalvarırım
Bbm7         Abm7                 Bbm7
Sus git hadi söylenecek hiç bişey yok

B                        Bbm7
Seve seve ayrılalım dese de
              Abm7               Bbm7
Acıtsada beni kalbim aşkına nöbetçi
        Bmaj7      Abm7    Bbm7
Yine de kalbim aşkına nöbetçi

End of song Play again?

Tuğba Yurt - Nöbetçi Tabs

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Harmony analysis

Tuğba Yurt – Nöbetçi: key and chord analysis

The song opens on Bbm7 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 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.

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	5×
iii7	Bbm7	Mediant — a tonic-family shade	Bb · Db · F · Ab	13×
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#	7×
IV	B	Subdominant — moves away from home	B · D# · F#	1×
V	Db	Dominant — strongest pull home	Db · F · Ab	2×
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
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	—
iv7	Abm7	Subdominant — moves away from home	Ab · Cb · Eb · Gb	5×
v7	Bbm7	Minor dominant — soft pull	Bb · Db · F · Ab	13×
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#	7×
VI	B	Submediant — warm colour	B · D# · F#	1×
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; 6 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

Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×1
Bmaj7 Db GbIVmaj7 → VIV → V EbmVImaj7 → VIIVI → VII ×1

The move to watch is Db → Ebm, heard once. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 Bbm7, 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.
Over Abm7, land on Ab, Cb, Eb — 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 first chord is Bbm7; the ear learns where home is within a second. The backbone is Bbm7, Bmaj7, Abm7, Db — iii7–IVmaj7–ii7–V from the Gb side, v7–VImaj7–iv7–VII from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. 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.