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)
Nahide Babaşlı - Adamım - Chord
Key Gb major – Eb minor Chords Bbm, B, Abm, Db, Ebm Easy key C (capo 6)
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Bbm B Abm Bbm
Aksın iki gözüm önüme de varsa tek bir yalanım
Db Bbm
Yok inan ki
B Abm Bbm
Yazılmamış aşkın kitabında yaptığın bil ki
B Abm Bbm
Ayrılığın da hakkını vermek gerekir bazen
B
Gitmeyi de bilmedin kalmayı da bilmedin
Abm Bbm
Malesef ki
Bbm B Db Ebm
Ben ay rılığın tadını aldım alalı
Bbm
Parçalandım al bu da kalanım
B
Dönüyorsan dön bir an önce
Bbm
Ölüyorum kurtar beni adamım
Bbm B Db Ebm Ebm Bbm B B Bbm
Bbm B
Benim yerımde olsan bir anlık
Abm Bbm
Ölürdün inan ki
B
Ben benimle yaşıyorum hergün
Abm Bbm
Bu zulüm bil ki
Bbm B Db Ebm
Ben ay rılığın tadını aldım alalı
Bbm
Parçalandım al bu da kalanım
B
Dönüyorsan dön bir an önce
Bbm
Ölüyorum kurtar beni adamım
End of song Play again?
Nahide Babaşlı - Adamım Tabs
NotesX
Harmony analysis
Nahide Babaşlı – Adamım: key and chord analysis
The song opens on Bbm 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 Eb minor side because Ebm is heard 4 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 6× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 18× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 13× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 4× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 4× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 4× |
| 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 | 6× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 18× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 13× |
| 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). 5 different chords appear 45 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
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×3
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×3
The move to watch is Db → Ebm, heard 3 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). 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 B, land on B, D#, 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.
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 Bbm, the song gives away its key from the very first bar. Bbm, B, Abm, Db carry the song: iii–IV–ii–V relative to Gb, v–VI–iv–VII relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. Ending on Bbm, 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.
Nahide Babaşlı - Adamım 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Nahide BabaşlıMusic: Nahide Babaşlı & Barbod HozouriArrangement: Barbod Hozouri
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.