Funda Arar - Bağışla - Chord

Key Gb major – Eb minor Chords Abm, Bb7, Ebm, Bbm, B Easy key C (capo 6)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Ebm  Ebm  Bbm  Bbm  Abm  Abm  Bb7

Ebm
Yokluğun zehir akşamlarda
Bbm
Aşk kalbime damlar
Abm
Her yerim hasret, gözlerim sana
       Bb7
Kara bulutlarla ağlar
 
Ebm
Seni benden alıp canımı yakma
Bbm
Sonbaharlar ve uzun kışlar
Abm
Savrulur başımda
    Bb7
Gel sevdamı bağışla
     Abm        Bb7               B         Bb7
Beni sensizliğe sürgün eden, seni bana bağışla

Ebm
Derdinle yorgunum, sensiz kalarak
Bbm
Yalnızlığa vurgunum,canım yanarak
Abm                            Bb7
Dün gibi solgunum, yaşarken ölüyüm, ooo
 
Ebm
Dolmuyor yerin, gönlüm sustu
Bbm
Günler ayaz oldu
Abm
Boynumu büktüm yollara baktım yine
Bb7
Senden haber yoktu

Ebm
Derdinle yorgunum, sensiz kalarak
Bbm
Yalnızlığa vurgunum, canım yanarak
Abm                            Bb7
Dün gibi solgunum, yaşarken ölüyüm, ooo

End of song Play again?

Funda Arar - Bağışla Tabs

NotesX

Harmony analysis

Funda Arar – Bağışla: 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.

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)
#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 7 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.

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	8×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	7×
V7/vi	Bb7	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F · Ab	8×
IV	B	Subdominant — moves away from home	B · D# · F#	1×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	7×
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	7×
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	8×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	7×
V7	Bb7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F · Ab	8×
VI	B	Submediant — warm colour	B · D# · F#	1×
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 31 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

Abm Bb7 Gbii → V7/vi Ebmiv → V7iv → V ×7
Bb7 Ebm GbV7/vi → visecondary resolution EbmV7 → iharmonic-minor cadence ×5

The move to watch is Abm → Bb7, heard 7 times. From the Ebm side it is iv → V7 (iv → V: the minor side's tension builder); from the Gb side it reads ii → 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 Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
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.
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

6 semitones up · capo 6 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Ebm lays a solid floor for everything that follows. The backbone is Abm, Bb7, Ebm, Bbm — ii–V7/vi–vi–iii from the Gb side, iv–V7–i–v 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 Abm → Bb7 (ii → V7/vi in Gb, iv → V7 in Ebm): iv → V — the minor side's tension builder. 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.