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)
Feride Hilal Akın - Susmadı - Chord
Key Gb major – Eb minor Chords Bmaj7, Bbm7, Bbm Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm7 Bmaj7
Bbm7
Susmadı hiç telefonum
Bmaj7
Arayıp durdun sen beni kaç kere
Cevabım yok sana
Bbm7
Kendini yordun mmmh! neyi deniyordun
Bmaj7
Boş yere tövbeler boş yere tövbeler
İraden yok mu?
Bbm7
Bla bla bla
Konuşup durma arkamdan
Bmaj7
Konu niye hep sen olduğunda
Korurum senin gibi yapmam ya
Bbm
Kilo kilo dert üstüne dert
Küskün eder senin gibiler
Bmaj7
Düştüm evet ben ellerine
Atladım aşkım en derine
Bbm7
El yerine koyma beni
Ona buna sorma beni
Bmaj7
Sevmeden önce tanı beni
Şok olma sonra canım benim
Bbm7
Kimseye sormadan geldin
Kendine yetmiyorken akıl verdin
Bmaj7
Bilemedim ki bir ne asıl derdin
Yerime koy peki sen nasıl derdin
Bbm7
Yok sen olmasan derdim
Eros’un okları geriye gönderdim
Bmaj7
O kadar iyi demek aşık ol kendin
Beni bir sal daha sabrım tükendi
Bbm7
Susmadı hiç telefonum
Bmaj7
Arayıp durdun sen beni kaç kere
Cevabım yok sana
Bbm7
Kendini yordun mmmh! neyi deniyordun
Bmaj7
Boş yere tövbeler boş yere tövbeler
İraden yok mu?
End of song Play again?
Feride Hilal Akın - Susmadı Tabs
NotesX
Harmony analysis
Feride Hilal Akın – Susmadı: key and chord analysis
The song opens on Bbm7 and ends on Bmaj7. 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: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor. Try reading the chords both ways and see which feels more like home to you.
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 | — |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 9× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 1× |
| III | Bb | Chromatic colour chordoutside the key | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 10× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| 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 | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 9× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 1× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 10× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 3 different chords appear 20 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on Bbm7, the song gives away its key from the very first bar. The chords that keep coming back are Bmaj7, Bbm7, Bbm; read them as IVmaj7–iii7–iii in Gb or VImaj7–v7–v in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Bmaj7, 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.
Feride Hilal Akın - Susmadı 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: Feride Hilal Akın, Sheyh ReeMusic: Feride Hilal Akın, Sheyh ReeArrangement: Orkha Bahirzadeh
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