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)
Zeynep Bastık - Bana Sorma - Chord
Key Gb major – Eb minor Chords Ebm7, Abm7, Bbm7, Bmaj7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm7 Abm7 Bbm7
Ebm7 Abm7 Bbm7
Artık seni dinlemem ben
Ebm7 Abm7 Bbm7
Hep yalan söylüyorsun
Ebm7 Abm7 Bbm7
Dün çok seviyordun mesela
Ebm7 Abm7 Bbm7
Bak şimdi gidiyorsun
Bye, bye
Ebm7 Abm7
Yıllardır bir orada bir burada
Bmaj7 Bbm7
Dönüp dolaşıp bana sarma
Ebm7 Abm7
Yetmedi mi bir onla bir bunla?
Bmaj7 Bbm7
Sözüm yok, yok, yok, yok
Ebm7
Uçtu gitti hayaller
Abm7
Bir balonmuş hepsi zaten
Bmaj7
Eridi kafamın içinde
Bbm7
Varsa bir iki güzel şey de
Ebm7
Uçtu gitti hayaller
Abm7
Bu masalda bitti zaten
Bmaj7
Yardım et ama bir sen de
Bbm7
Çıkma karşıma her yerde
End of song Play again?
Zeynep Bastık - Bana Sorma Tabs
NotesX
Harmony analysis
Zeynep Bastık – Bana Sorma: key and chord analysis
The song opens on Ebm7 and ends on Bbm7. 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 opens on Ebm and Ebm is heard 9 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 9× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 9× |
| 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# | 4× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 9× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 9× |
| 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 | 9× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 9× |
| 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# | 4× |
| 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 31 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
- Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×8
The move to watch is Bbm7 → Ebm7, heard 8 times. From the Ebm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii7 → 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 Abm7, land on Ab, Cb, Eb — 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.
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 Ebm7 lays a solid floor for everything that follows. The backbone is Ebm7, Abm7, Bbm7, Bmaj7 — vi7–ii7–iii7–IVmaj7 from the Gb side, i7–iv7–v7–VImaj7 from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Ebm7 (iii7 → vi7 in Gb, v7 → i7 in Ebm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm7; the ear comes to rest in Gb.
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.
Zeynep Bastık - Bana Sorma 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: Zeynep Bastık
Serhat ŞensesliMusic: Zeynep Bastık
Serhat ŞensesliArrangement: Serhat Şensesli
Serhat ŞensesliMusic: Zeynep Bastık
Serhat ŞensesliArrangement: Serhat Şensesli
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