Güneş - Ayna - Chord

Key Gb major – Eb minor Chords Ebm, Db, Abm, B Easy key G

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Capo 0

Ebm  Db  Abm  B

Ebm
Dedin "karmaşık bunlar
Db
Yeter kaçma dur orda
Abm
Tanıdık bi’ yüz yormaz"
B
Dedi "bu gece olmaz"

Ebm
Sorup durma bana n’olcak diye 
Db
Ödüm kopuyo aramızı bozacak biri 
Abm
Senin gibi hissettirebilen sersin yere beni
B 
Benden öncekiler seni hak etmedi 

Ebm
Susmaktan sıkılıp lafla benle
Db
Takılmaz etmezmiş lafta ben de
Abm
Bu ayaklar yordu beni dürüst gel 
B
Ee? sıkıldım tonla mesaj ilgi ve de 

Ebm
Dans ettim her gece perilerle
Db
İlhamı aradım bi’ fenerle 
Abm
Ta ki görene kadar gözünde 
B
Bunu yaşayamayız ki göz önünde 

Ebm
yüzüm kalmadı bakamıyom aynaya 
Db
bi’ farkım yok dünki ile aynıyım 
Abm
oynuyor tüm dengemle varlığın
B
unutmadın asla acımdan haz almayı

Ebm
Dedin "karmaşık bunlar
Db
Yeter kaçma dur orda
Abm
Tanıdık bi’ yüz yormaz"
B
Dedi "bu gece olmaz"

Ebm    Db
Olmaz, bitti yeni bi’ hikaye ah
Abm
Hepsini ettim idare ah
B
Kapladı bedeni yükler ya
Ebm
Sırtla hepsini ilerle ee
Db
Sonu olmayan bi lanet
Abm                     B
Yaşa sorumsuz bu dertle

End of song Play again?

Güneş - Ayna Tabs

NotesX

Harmony analysis

Güneş – Ayna: key and chord analysis

The song opens on Ebm and ends on B. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.

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)

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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	9×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	9×
V	Db	Dominant — strongest pull home	Db · F · Ab	9×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	9×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	9×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	9×
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#	9×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	9×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 36 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

B Ebm GbIV → vi EbmVI → iVI → i ×8

The move to watch is B → Ebm, heard 8 times. From the Ebm side it is VI → i (VI → i: falls a half step into home); from the Gb side it reads IV → 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 Db, land on Db, F, Ab — 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.

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
4 semitones down · capo 4 keeps the original pitch

The song's harmonic story

The first chord is Ebm; the ear learns where home is within a second. The chords that keep coming back are Ebm, Db, Abm, B; read them as vi–V–ii–IV in Gb or i–VII–iv–VI in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on B → Ebm (IV → vi in Gb, VI → i in Ebm): VI → i — falls a half step into home. It closes on B, 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.