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)
Sıla Şahin - Aldanırım x Samet Kardeşler - Chord
Key Gb major – Eb minor Chords B, Ebm, Db, Abm Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Db B Abm B
Ebm
Aldanırım sana aldanırım canım
Db
Yalvarırım sana yalvarırırım dinle
B
Gitme yarım kalıyorken yarım
Abm B
Sende gidersen bu diyardan
Ebm
Nasıl da zor geçiyor bu günler
Bi yanım hep seninle mi kaldı?
Db
Soruyorum cevabı yok öfkenden farkı yok bu reva mı?
B
Söyle sen mi hoşçakaldın?
Lime lime parçalandım
Abm
Çok kırıldım alttan aldım
B
Aldandım hep yalan mı?
Ebm
Aldanırım sana aldanırım canım
Db
Yalvarırım sana yalvarırırım dinle
B
Gitme yarım kalıyorken yarım
Abm
Sende gidersen bu diyardan
B
Kaybedecek neyim kalır
Ebm
Bu kez gidiyorum unutma, yarını zor görürüm belki
Db
İyi bişey yoktu huyunda, sana dayanmak zor dokunma
B
Diyemediğim onca şey varken kaldı solumda
Abm B
İçime attım ben kaldım yaşlandığımla
Ebm
Aldanırım sana aldanırım canım
Db
Yalvarırım sana yalvarırırım dinle
B
Gitme yarım kalıyorken yarım
Abm
Sende gidersen bu diyardan
B
Kaybedecek neyim kalır
End of song Play again?
Sıla Şahin - Aldanırım x Samet Kardeşler Tabs
NotesX
Harmony analysis
Sıla Şahin – Aldanırım x Samet Kardeşler: 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.
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 6 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 | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 12× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 6× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 6× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 6× |
| 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 | — |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 12× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 6× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 30 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 ×5
The move to watch is B → Ebm, heard 5 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 B, land on B, 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 Db, land on Db, F, Ab — 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 opening Ebm lays a solid floor for everything that follows. The backbone is B, Ebm, Db, Abm — IV–vi–V–ii from the Gb side, VI–i–VII–iv from the Ebm side. 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.
Sıla Şahin - Aldanırım x Samet Kardeşler 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: Samet Kardeşler x Sıla ŞahinMusic: Samet Kardeşler x Sıla ŞahinArrangement: Onur Atlı x Buğra Kunt
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