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)
Berk Baysal - O Zaman - Chord
Key Gb major – Eb minor Chords B, Db, Gb Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Db B Db B
Db B Db
Gel, gel bütün yaralar kapanır o zaman
B
Rüyam olur o zaman
Db B Db
Bak, bak ne kaldı acıdan başka bana kalan
B
Ömür yalan o zaman
Gb B
Duymazdım sesini
Db B
Kaçardım gölgemden
Gb B
Bilmezdim hissini
Db B
Kurtar beni senden
Gb B
Ansızın bir öfke
Db B
Parladı bizi
Gb B
Boşverdim geçmişi
Db B Db B Db B
Şimdi geri gelseen
Db B
Ben yeni anladım
Db B
Bu aşk benim sonum olur o zaman
Db B
Sen beni duymazdın
Db
O yerler bana uzak
B
Tuzak olur o zaman
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Berk Baysal - O Zaman Tabs
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Harmony analysis
Berk Baysal – O Zaman: key and chord analysis
The song opens on Db and ends on B. 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 Gb is heard 4 times while Ebm never appears. 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 | — |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 20× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 16× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | — |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | — |
| 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 | — |
| 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 | B | Submediant — warm colour | B · D# · F# | 20× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 16× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 40 times in total; 3 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
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×15
- B Gb GbIV → Iplagal cadence EbmVI → III ×4
The move to watch is B → Db, heard 15 times. From the Gb side it reads IV → V (IV → V: the lift that builds tension before home); from the Ebm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — 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
- 3 semitones up
The song's harmonic story
The first chord is Db; the ear learns where home is within a second. The chords that keep coming back are B, Db, Gb; read them as IV–V–I in Gb or VI–VII–III in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Db (IV → V in Gb, VI → VII in Ebm): IV → V — the lift that builds tension before home. The final chord is B; 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.
Berk Baysal - O Zaman 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: Berk BaysalMusic: Berk Baysal
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