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)
Toygar Işıklı - Hayat Gibi - Chord
Key Gb major – Eb minor Chords Ebm, Abm, Bbm, Db, Gb, Bmaj7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Db Abm
Sanki elimi hiç bırakmamışsın gibi
Ebm Bbm Abm
Yokluğunda kendi kendime inandım dayandım
Ebm Db Abm
Sanki kötü sonlu hiç hikâye yokmuş gibi
Ebm Bbm Abm
Sonumuzun iyi biteceğini varsaydım, yalandı
Ebm Abm
Havalar da soğuk gidiyor
Gb Bbm
Bu aralar üşürsün sen bilirim
Abm Db Ebm
Aman dikkat et, aklına yazları getir
Ebm
Ne olur ara sıra haberdar et
Pencerelerde bekletme
Bbm
Hayatına elbet biri girecek
Abm Ebm
Mutlu ol onu ihmal etme
Ebm Bbm
Acımasızsın isyankarsın
Abm Bbm
Vefasızsın riyakarsın
Bmaj7
Hem günahsız hem günahkârsın
Bbm Abm
Hayat gibi
Ebm
Hayat gibi
End of song Play again?
Toygar Işıklı - Hayat Gibi Tabs
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Harmony analysis
Toygar Işıklı – Hayat Gibi: key and chord analysis
The song opens on Ebm 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 both starts and finishes 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 1× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 9× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 7× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 1× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 3× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 10× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| 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 | 9× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 7× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 1× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 3× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 31 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 Ebm Gbii → vi Ebmiv → iminor plagal ×6
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×1
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
The move to watch is Abm → Ebm, heard 6 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 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 Bbm, land on Bb, Db, 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 opening Ebm lays a solid floor for everything that follows. The backbone is Ebm, Abm, Bbm, Db — vi–ii–iii–V from the Gb side, i–iv–v–VII 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 → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. 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.
Toygar Işıklı - Hayat Gibi 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: Çağın BodurMusic: Çağın Bodur
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