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)
Süleyman Çapar - Mecnun - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, B, Bb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Bbm Ebm Bbm B Bb B Bb
Ebm Bbm
Seeen, geeell
B Bbm
Mecnunu bekler bilmez Leyla
Ebm Bbm
Su olmuş rakı elinde şarabı
B Bbm
Kimse bilmez derler ayyaş
Ebm Bbm
Aşk adamı sarhoş eder
B Bbm
Kimse bilmez derler Mecnun
Ebm Bbm
Kimi çok sevmiş meğer
Ebm Bbm
Kimi çok sevilmeye değer
Ebm Bbm B
Bir varmış diye başladı hikayemiz
Ebm Bbm
Şimdi iki kişilik
Ebm Bbm
Bi ben kaldım bide yalnızlık aaaa
Ebm Bbm B Bbm
aaaaaaaaaaaaaaaaa
Ebm Bbm
Seeen, geeell
B Bbm
Mecnun bekler gelmez Leyla
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Süleyman Çapar - Mecnun Tabs
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Harmony analysis
Süleyman Çapar – Mecnun: key and chord analysis
The song opens on Ebm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
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 12 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 17× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 2× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 8× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 12× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 12× |
| 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 | — |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 17× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 2× |
| VI | B | Submediant — warm colour | B · D# · F# | 8× |
| 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). 4 different chords appear 39 times in total; 3 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×9
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×1
- B Ebm GbIV → vi EbmVI → iVI → i ×1
The move to watch is Bbm → Ebm, heard 9 times. 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 Bbm, land on Bb, Db, F — 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 B, land on B, D#, 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 down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Ebm; the ear learns where home is within a second. The chords that keep coming back are Bbm, Ebm, B, Bb; read them as iii–vi–IV–V/vi in Gb or v–i–VI–V in 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 Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm, 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.
Süleyman Çapar - Mecnun 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: Ömer YenerMusic: Süleyman Çapar
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