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)
Çağan Şengül - Rengarenk Ormanlar (Işıl Ayman) - Chord
Key Gb major – Eb minor Chords Bbm, Abm, Gb, B, Db Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
B Bbm
Rengarenk ormanlardan
Abm
Elimden tutup da
Db
Yürüdün yanımda
B Bbm
Hiç mi hiç olmazlardan
Abm
Bir hikaye yarattın
Db
Uyuyup yanımda
Abm
Şimdi ellerin ellerim
Dokunmalı sözlerim
Bbm
Bir şarkısın dilimde
Kuvvetli ezberim
Abm
İçimdeki hisleri
Bir tek seni isterim
Bbm
Tam zamanı, tam yeri
Tutup seni öpmenin
Abm Bbm Abm Bbm
Gb Bbm Abm
Ben de bilmezdim renkleri
Gb Bbm Abm
Ya görmeseydim seni?
Gb Bbm Abm
Ben de sevmezdim kendimi
Gb Bbm Abm
Hiç görmeseydin beni
End of song Play again?
Çağan Şengül - Rengarenk Ormanlar (Işıl Ayman) Tabs
NotesX
Harmony analysis
Çağan Şengül – Rengarenk Ormanlar (Işıl Ayman): key and chord analysis
The song opens on B and ends on Abm. 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 | 10× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 10× |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 2× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| 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 | 10× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 10× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 2× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 28 times in total; 5 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 Db Gbii → Vii → V Ebmiv → VII ×2
The move to watch is Abm → Db, heard 2 times. From the Gb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Ebm side it is iv → VII. 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 Bbm, land on Bb, Db, F — 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is B; the ear learns where home is within a second. Bbm, Abm, Gb, B carry the song: iii–ii–I–IV relative to Gb, v–iv–III–VI relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Db (ii → V in Gb, iv → VII in Ebm): ii → V — the classic preparation of the dominant. Ending on Abm, the song seals Gb 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.
Çağan Şengül - Rengarenk Ormanlar (Işıl Ayman) 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: Çağan ŞengülMusic: Çağan ŞengülArrangement: Oğuzhan Çakır
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