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)
Bağzıları - Güzelliğin Falan Hikaye - Chord
Key Gb major – Eb minor Chords Ebm, B, Bb, Db, Abm, Fdim, Bbm Easy key C (capo 6)
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Ebm Bbm Ebm Db Abm B Abm Bb Ebm Fdim Olunmuyor mutlu falan hiç Ebm Fdim Başlanmıyor yeni baştan pek B Bb Bunlar yalan dolan bunlar palavra B Bb Yine düştük mü koca boşluğa Ebm Db Belki biraz ben de seni özledim Ebm Bbm Şimdi zamanı değil sonra gelirim B Bb Kaç satır yazsam, kaç satır gelsem B Bb Pek bi önemi yok ama beni dinlesen Ebm Db Boş ver, güzelliğin falan hikaye Ebm Db Senden ne var ne yok bana onu söyle B Abm B Her şey geçer mi sandın kendi kendine Bb Geçmiyor sevgilim Ebm Fdim Olunmuyor mutlu falan hiç Ebm Fdim Başlanmıyor yeni baştan pek B Bb Bunlar yalan dolan bunlar palavra B Bb Yine düştük mü koca boşluğa Ebm Db Eski güzel günleri tıktım valize Ebm Bbm Her yerinden kitleyip saldım denize B Bb O geçen yıllar o geçen günler B Bb Ağır ağır uzaklaşıp gitti sessizce Ebm Db Boş ver, güzelliğin falan hikaye Ebm Db Senden ne var ne yok bana onu söyle B Abm B Her şey geçer mi sandın kendi kendine Bb Geçmiyor sevgilim
End of song Play again?
Bağzıları - Güzelliğin Falan Hikaye Tabs
NotesX
Harmony analysis
Bağzıları – Güzelliğin Falan Hikaye: key and chord analysis
The song opens on Ebm and ends on Bb. 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 14 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 | 4× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 3× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 11× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 13× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 7× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 14× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 14× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | 4× |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 4× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 3× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | 11× |
| VI | B | Submediant — warm colour | B · D# · F# | 13× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 7× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 56 times in total; 6 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
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×6
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×4
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1
- Abm Bb Gbii → V/vi Ebmiv → Viv → V ×1
The move to watch is Bb → Ebm, heard 6 times. From the Ebm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, 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 backbone is Ebm, B, Bb, Db — vi–IV–V/vi–V from the Gb side, i–VI–V–VII from the Ebm side. 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 Bb → Ebm (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. It closes on Bb, 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.
Bağzıları - Güzelliğin Falan Hikaye 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Ömer NaldemirMusic: Ömer NaldemirArrangement: Ali Sak
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.