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)
Nilüfer Örer - Yeter - Chord
Key Gb major – Eb minor Chords Bb7, Ebm, Fdim, Abm, B Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Ebm Fdim Fdim Ebm Ebm Bb7 Abm Fdim Bb7 Ebm
Ebm Fdim Bb7
Gel n'olur seviyorum seni ben
B Abm Bb7
Al kalbimi canım ayrılamam senden
Ebm Fdim Bb7
Gel n'olur uzat ellerini
B Abm Bb7
Al kalbimi canım al benliğimi
Ebm Fdim
Yeter yeter herşey seninle güzel
Ebm
Geçer günler biter seneler
Bb7
Bilsen neler çektim ah neler
Abm Fdim Bb7
Gözümden yaşları kim siler
Ebm Fdim Bb7
Gel n'olur seviyorum seni ben
B Abm Bb7
Al kalbimi canım ayrılamam senden
Ebm Fdim Bb7
Gel n'olur uzat ellerini
B Abm Bb7
Al kalbimi canım al benliğimi
Ebm Fdim
Yeter yeter herşey seninle güzel
Ebm
Geçer günler biter seneler
Bb7
Bilsen neler çektim ah neler
Abm Fdim Bb7
Gözümden yaşları kim siler
End of song Play again?
Nilüfer Örer - Yeter Tabs
NotesX
Harmony analysis
Nilüfer Örer – Yeter: key and chord analysis
The song opens on Ebm and ends on Bb7. 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)
- #7 = D (harmonic-minor leading tone from the V chord)
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, Ebm is heard 13 times while Gb never appears and the major V chord points straight at Ebm. 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 | 7× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V7/vi | Bb7 | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F · Ab | 14× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 4× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 13× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | 11× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 13× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | 11× |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 7× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | — |
| V7 | Bb7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F · Ab | 14× |
| VI | B | Submediant — warm colour | B · D# · F# | 4× |
| 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). 5 different chords appear 49 times in total; 4 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb7 is V7/vi, a secondary dominant heading for Ebm.
Chord movement
- Fdim Bb7 Gbvii° → V7/vi Ebmii° → V7ii° → V ×7
- Bb7 Ebm GbV7/vi → visecondary resolution EbmV7 → iharmonic-minor cadence ×6
- Abm Bb7 Gbii → V7/vi Ebmiv → V7iv → V ×4
The move to watch is Fdim → Bb7, heard 7 times. From the Ebm side it is ii° → V7 (ii° → V: the classic minor-key preparation); from the Gb side it reads vii° → V7/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 Bb7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Fdim, land on F, Ab, Cb — the chord's own tones always sound right on strong beats.
- When Bb7 comes, swap the scale's Db for D: that single note is the harmonic-minor sound of the chord.
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
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Ebm, the song gives away its key from the very first bar. The backbone is Bb7, Ebm, Fdim, Abm — V7/vi–vi–vii°–ii from the Gb side, V7–i–ii°–iv from the Ebm side. Bb7 is the interesting twist: in Gb it is a chromatic chord (V7/vi), while in Ebm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Fdim → Bb7 (vii° → V7/vi in Gb, ii° → V7 in Ebm): ii° → V — the classic minor-key preparation. Ending on Bb7, 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.
Nilüfer Örer - Yeter 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: Nilüfer Örer · Ferda Anıl YarkınMusic: Nilüfer Örer · Ferda Anıl Yarkın
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