Berkay - Kırgınım Ona - Chord

Key Gb major – Eb minor Chords Ebm7, Bbm7, B, Abm7, Bmaj7 Easy key C (capo 6)

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Capo 0

Ebm7  Ebm7  B  Bbm7

Ebm7
Sevmedi, görmedi, değerini bilmedi kalbimin
        B              Bbm7
Soldum elinde, ilk nefesimle
Ebm7
Onu bunu dinledi gerçeği görmedi halimin
       B              Bbm7
Kaldı içimde, ilk hevesimle

Abm7
Kırgınım ona beni hiç anlamasa da
     Bbm7
Kötü konuşmam iyi dileklerim olmasa da
Abm7
Vurgunum ona yüzüm saklasa da
   Bbm7                 Bmaj7
Sessizliğim bu yüzden o duymasa da

Ebm7
Kalp geri dönme diyor
              B
Beni görmüyor zalim
           Bbm7
Ama mahvediyor
Abm7             Ebm7
Yine bana hükmediyor aşk

Ya da susma diyor
              B
Beni duymuyor harbin
               Bbm7
Suspus olma be hain
Abm7               Ebm7
Yana döne seni soruyor

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Berkay - Kırgınım Ona Tabs

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Harmony analysis

Berkay – Kırgınım Ona: key and chord analysis

The song opens on Ebm7 and ends on Ebm7. 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 both starts and finishes on Ebm and Ebm is heard 7 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	4×
iii7	Bbm7	Mediant — a tonic-family shade	Bb · Db · F · Ab	7×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	5×
IVmaj7	Bmaj7	Subdominant — moves away from home	B · D# · F# · A#	1×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi7	Ebm7	Relative minor — the melancholy side	Eb · Gb · Bb · Db	7×
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	7×
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	4×
v7	Bbm7	Minor dominant — soft pull	Bb · Db · F · Ab	7×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	5×
VImaj7	Bmaj7	Submediant — warm colour	B · D# · F# · A#	1×
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). 5 different chords appear 24 times in total; 5 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

Abm7 Ebm7 Gbii7 → vi7 Ebmiv7 → i7minor plagal ×2
Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×2
Bmaj7 Ebm7 GbIVmaj7 → vi7 EbmVImaj7 → i7VI → i ×1

The move to watch is Abm7 → Ebm7, heard 2 times. From the Ebm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Gb side it reads ii7 → vi7. 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 Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Bbm7, land on Bb, Db, F — 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.

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 Ebm7; the ear learns where home is within a second. Ebm7, Bbm7, B, Abm7 carry the song: vi7–iii7–IV–ii7 relative to Gb, i7–v7–VI–iv7 relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm7 → Ebm7 (ii7 → vi7 in Gb, iv7 → i7 in Ebm): minor plagal — deep and melancholic. It closes on Ebm7, letting the Ebm 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.