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)
Ebru Gündeş - Sonsuza Dek (Murat Boz) - Chord
Key Gb major – Eb minor Chords Abm, B, Bbm, Gb, Db, Ebm, Eb Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Gb Abm Bbm Sevdayı bilmezdim senden önce B Db Sanki yeniden doğdum ellerinde Gb Db B Abm Gönlüm huzur buldu gözlerinde Gb Abm B Bbm Ben karar verdim şimdi sıra sende Ebm Bbm Benimle bir hayat kurar mısın Db Abm Öykümüzü baştan yazar mısın B Eb Abm Sonsuza dek benimle yaşar mısın Bbm B Abm Hoş geldin ömrüme gözümün bebeği Ebm Bbm Benimle bir hayat kurar mısın Db Abm Öykümüzü baştan yazar mısın B Eb Abm Sonsuza dek benimle yaşar mısın Bbm B Abm Hoş geldin ömrüme gözümün bebeği Gb Abm B Bbm Kalbimin sahibi kanatsız meleğim
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Harmony analysis
Ebru Gündeş – Sonsuza Dek (Murat Boz): key and chord analysis
The song opens on Gb and ends on Bbm. 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 Gb major side because it opens on Gb and Gb is heard 4 times against 2 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.
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 | 4× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 10× |
| 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 | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 8× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 4× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 2× |
| V/ii | Eb | Secondary dominant V/ii — leads to Abmsecondary dominant | Eb · G · Bb | 2× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 2× |
| V/iv | Eb | Secondary dominant V/iv — leads to Abmsecondary dominant | Eb · G · Bb | 2× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 4× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 10× |
| 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 | — |
| VI | B | Submediant — warm colour | B · D# · F# | 8× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 4× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 37 times in total; 6 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Db Gb GbV → Iauthentic cadence EbmVII → III ×1
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×1
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1
The move to watch is Db → Gb, heard once. From the Gb side it reads V → I (authentic cadence: the strongest arrival home); from the Ebm side it is VII → III. 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 Abm, land on Ab, Cb, Eb — 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 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
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is Gb; the ear learns where home is within a second. The chords that keep coming back are Abm, B, Bbm, Gb; read them as ii–IV–iii–I in Gb or iv–VI–v–III in Ebm. Eb adds a moment of surprise: secondary dominant V/ii — leads to Abm. Keep an ear on Db → Gb (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. It closes on Bbm, 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.
Ebru Gündeş - Sonsuza Dek (Murat Boz) 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: Nezih ÜçlerMusic: Nezih ÜçlerArrangement: Mustafa Ceceli
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