Sıla - Hediye - Chord

Key Gb major – Eb minor Chords B, Abm, Bbm, Bb, Ebm, Db Easy key C (capo 6)

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Capo 0

            B           Abm
Yoktur haberim, yaktım yıktım, 
B                  Bbm
Naraların, nidanın bini bir para 
       B                Abm
Nereye koysam, sığmam içime, 
B                          Bbm
Öteler yakın olsun dostlar bana hediye 

B             Bb
Ah, canım akıyor kaleme, can buluyor 
Abm                     B        Bb                              
Acıyor evet, hem de çok gözyaşım gün sayıyor

Ebm                     B
Kalbime değdim nihayet, ne kadar özledim de  
Bb    B   Db      Ebm
Gel, gel  ne olur dön gel
Abm        Bbm
Hadi dön gel be  

     B                   Abm
Sulara saldım, sussun balıklar 
B                                   Bbm
Her yer masmavi, bugün acılar bile yeni ay 
     B                 Abm
Nereye koysam, sığmam içime 
B                          Bbm
Öteler yakın olsun dostlar bana hediye

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Sıla - Hediye Tabs

NotesX

Harmony analysis

Sıla – Hediye: key and chord analysis

The song opens on B and ends on Bbm. 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 Ebm is heard 2 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	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	6×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	5×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	3×
IV	B	Subdominant — moves away from home	B · D# · F#	12×
V	Db	Dominant — strongest pull home	Db · F · Ab	1×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	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	2×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	6×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	5×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	3×
VI	B	Submediant — warm colour	B · D# · F#	12×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	1×

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. 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.

Chord movement

Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×1
Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×1
B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1

The move to watch is Bb → Ebm, heard once. 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 B, land on B, D#, 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 Bbm, land on Bb, Db, 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 first chord is B; the ear learns where home is within a second. B, Abm, Bbm, Bb carry the song: IV–ii–iii–V/vi relative to Gb, VI–iv–v–V 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 Bbm; 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.