Reynmen - Yoksun Başımda - Chord

Key Gb major – Eb minor Chords Db, Ebm, Abm, B, Gb, Bbm Easy key G

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Capo 0

Ebm  Gb  Abm  B

Ebm
 Dur dedim ama kalbim dedi beni yolla
              Db
Yolla yollara düşsün aşk yokuşlara küskün
B
 Gitme kalbim sen beni bir başıma koyma
               Abm                  Bbm
Bak ne hallere düştüm aşk yokuşlara küskün

Ebm               Db
Yoksun başımda yalnızım yok sırdaşım da
   Abm
Kimse yok mu sen dışında
   Db
Koydum altında elim taşında
    Ebm
Göz yaşımda dert başımda
   Db
Gönder beni buradan ışınla
   Abm
Yalnızım yazın kışın da
   Db
Sordum, yok dedi senin bir suçun da

Ebm  Db  Abm  Db

Ebm      
 Gitsin diyor gözün aydın
   Db
Terketsin diyor bu da onun ayıbı
Abm
 Gitsen bile yerin ayrı
   Db
Gelgitlerdeyim gece dolunay mı

   Ebm
Doldur hep doldur
  Db
Ağrı yanım hep soldu
           Abm
Bir gün vardın bir gün yoktun
  Db
Çarem nedir doktor

Ebm               Db
Yoksun başımda yalnızım yok sırdaşım da
   Abm
Kimse yok mu sen dışında
   Db
Koydum altında elim taşında
    Ebm
Göz yaşımda dert başımda
   Db
Gönder beni buradan ışınla
   Abm
Yalnızım yazın kışın da
   Db
Sordum, yok dedi senin bir suçun da

      Ebm
Tamam öyle durum belli

Benim böyle sonum belli
      Db
Benim böyle elim böyle kolum

Görmedim ben böyle sorun
Abm
Bunca varım bunca yokum

Aşk mı gördü her bir doğum
Db
Bakımdayım sanki yoğun

Kalp dediğinin hepsi koyun

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Reynmen - Yoksun Başımda Tabs

NotesX

Harmony analysis

Reynmen – Yoksun Başımda: key and chord analysis

The song opens on Ebm and ends on Db. 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 and Ebm is heard 10 times against 1 for Gb. 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	1×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	10×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	1×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	2×
V	Db	Dominant — strongest pull home	Db · F · Ab	17×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	10×
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	10×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	1×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	10×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	1×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	2×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	17×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 41 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

Abm Db Gbii → Vii → V Ebmiv → VII ×8
Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×7
B Ebm GbIV → vi EbmVI → iVI → i ×1
Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1

The move to watch is Abm → Db, heard 8 times. From the Ebm side it is iv → VII; from the Gb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — 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.

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

1 semitone up
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

Starting on Ebm, the song gives away its key from the very first bar. The backbone is Db, Ebm, Abm, B — V–vi–ii–IV from the Gb side, VII–i–iv–VI from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Db (ii → V in Gb, iv → VII in Ebm): ii → V — the classic preparation of the dominant. Ending on Db, the song seals Gb as home.

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.