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)
Cengiz Özkan - Male - Chord
Key Gb major – Eb minor Chords Ebm, Abm, Gb, Db Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Abm Ebm Gb Abm Db Gb Ebm Ebm Abm Üç güzel geliyor baglardan beri Ebm Gb Taramış zülfünü male male Abm Db Gb Ebm Vermiş tımari, vermiş tımari Abm Ebm Gb Ak göğsün üstünde male male zemzem pınari Abm Db Gb Ebm Almadin beni, sarmadım seni Abm Ebm Gb Abm Db Gb Ebm Ebm Abm Çermiğin altinda derin bir dere Ebm Gb Şaşırdım aklımı male male Abm Db Gb Ebm Gideyim nere, gideyim nere Abm Ebm Gb Alip kaçsam seni male male uzak bir yere Abm Db Gb Ebm Almadın beni, sarmadım seni Abm Ebm Gb Abm Db Gb Ebm Ebm Abm Çermigin altında büyük bir kaya Ebm Gb Cemalin benzettim male male Abm Db Gb Ebm Güneşe aya, güneşe aya Abm Ebm Gb Görmedim emeğim male male gitti hep zaya Abm Db Gb Ebm Almadın beni, sarmadım seni
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Cengiz Özkan - Male Tabs
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Harmony analysis
Cengiz Özkan – Male: key and chord analysis
The song opens on Abm and ends on Ebm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because it comes to rest on Ebm and Ebm is heard 21 times against 18 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 18× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 18× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | Cb | Subdominant — moves away from home | Cb · Eb · Gb | — |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 9× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 21× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 21× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 18× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 18× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | Cb | Submediant — warm colour | Cb · Eb · Gb | — |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 9× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 66 times in total; 4 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 Gb GbV → Iauthentic cadence EbmVII → III ×9
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×9
- Abm Db Gbii → Vii → V Ebmiv → VII ×9
The move to watch is Db → Gb, heard 9 times. From the Ebm side it is VII → III; from the Gb side it reads V → I (authentic cadence: the strongest arrival home). 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 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.
- Over Gb, land on Gb, Bb, Db — 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 Abm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Abm, Gb, Db; read them as vi–ii–I–V in Gb or i–iv–III–VII in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Gb (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. Ending on Ebm, the song seals Ebm 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.
Cengiz Özkan - Male 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: Güzel Hüseyin Özkan
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