Semicenk - Sabrettim Sefo - Chord

Key Gb major – Eb minor Chords Bbm7, Ebm7, Abm7 Easy key C (capo 6)

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Capo 0

Ebm7  Bbm7  Abm7  Bbm7
x4

Ebm7     Bbm7             Abm7
Sabrettim bu gece kendimi mahvettim
Bbm7                Ebm7
Bi' beni koy yerine, dar ettim
Bbm7           Abm7
Geceyi gündüze yâr ettim
Bbm7         Ebm7
Seni haram ettim, sabrettim
Bbm7            Abm7
Bu gece kendimi mahvettim
Bbm7                 Ebm7
Bi' beni koy yerine, dar ettim
Bbm7           Abm7
Geceyi gündüze yâr ettim
Bbm7         Ebm7
Seni haram ettim

Ebm7        Bbm7
Mmm, gel göklere bakalım, ya
Abm7                    Bbm7
Atın olayım ve sen'le cirit atalım mı?
Ebm7                Bbm7   
Bütün kötü anıları silip atalım, ya
Abm7                  Bbm7
Bi' sigara yakalım ve dizi bakalım, ya
Ebm7         Bbm7   
Seni hayal ettim hep yanımda
Abm7           Bbm7
Her şeyi mahvеttin bi' lafınla
Ebm7         Bbm7   
Yola devam etme, yapma, dur ama
Abm7            Bbm7
Konu kapanır ikimizin arasında
Ebm7          Bbm7   
Uu, hеr şeyin farkındayım, ohh
Abm7        Bbm7
Göremezsin, arkandayım
Ebm7       Bbm7  
Yol bitti, karanlıktayım
Abm7          Bbm7
Kaybettim hep rahat uyumayı

Ebm7     Bbm7             Abm7
Sabrettim bu gece kendimi mahvettim
Bbm7                Ebm7
Bi' beni koy yerine, dar ettim
Bbm7           Abm7
Geceyi gündüze yâr ettim
Bbm7         Ebm7
Seni haram ettim, sabrettim
Bbm7            Abm7
Bu gece kendimi mahvettim
Bbm7                 Ebm7
Bi' beni koy yerine, dar ettim
Bbm7           Abm7
Geceyi gündüze yâr ettim
Bbm7         Ebm7
Seni haram ettim

Ebm7  Bbm7  Abm7  Bbm7
x2

Ebm7    Bbm7           Abm7               Bbm7        Ebm7
  İnan, um'rumda değil hiçbi' şey kalbime, kıramaz artık
        Bbm7              Abm7           Bbm7       Ebm7
Bıraktım geçmişi, geldim, yarını düşleyip kenara attım
   Bbm7            Abm7
Yazdım kaygımı sahile
  Bbm7                Ebm7
Anladım, gidemem daha derine
  Bbm7        Abm7 
Özleminde, sözlerinle
        Bbm7         Ebm7
Kendimi kaybetsem gözlerinde
        Bbm7        Abm7 
Bulamam yolunu dokunmadan tenine
Bbm7         Ebm7          Bbm7     Abm7
Sakla beni kalbine, en dibine ellerinle

Hapset beni tenine

Ebm7  Bbm7           Abm7  Bbm7           Ebm7
Ohh,  boşuna onca rüya,    uyanıp eve gideyim, ah
Bbm7              Abm7                 Bbm7
Arama beni ya bi' daha, bırakın sabredeyim

Ebm7     Bbm7             Abm7
Sabrettim bu gece kendimi mahvettim
Bbm7                Ebm7
Bi' beni koy yerine, dar ettim
Bbm7           Abm7
Geceyi gündüze yâr ettim
Bbm7         Ebm7
Seni haram ettim, sabrettim
Bbm7            Abm7
Bu gece kendimi mahvettim
Bbm7                 Ebm7
Bi' beni koy yerine, dar ettim
Bbm7           Abm7
Geceyi gündüze yâr ettim
Bbm7         Ebm7
Seni haram ettim

Ebm7  Bbm7           Abm7  Bbm7           Ebm7
Ohh,  boşuna onca rüya,    uyanıp eve gideyim, ah
Bbm7              Abm7                 Bbm7
Arama beni ya bi' daha, bırakın sabredeyim

End of song Play again?

Semicenk - Sabrettim Sefo Tabs

NotesX

Harmony analysis

Semicenk – Sabrettim Sefo: key and chord analysis

The song opens on Ebm7 and ends on Bbm7. 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)

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 33 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii7	Abm7	Supertonic — prepares the dominant	Ab · Cb · Eb · Gb	30×
iii7	Bbm7	Mediant — a tonic-family shade	Bb · Db · F · Ab	59×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	Cb	Subdominant — moves away from home	Cb · Eb · Gb	—
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi7	Ebm7	Relative minor — the melancholy side	Eb · Gb · Bb · Db	33×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i7	Ebm7	Tonic — home	Eb · Gb · Bb · Db	33×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv7	Abm7	Subdominant — moves away from home	Ab · Cb · Eb · Gb	30×
v7	Bbm7	Minor dominant — soft pull	Bb · Db · F · Ab	59×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	Cb	Submediant — warm colour	Cb · Eb · Gb	—
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 122 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

Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×28
Abm7 Ebm7 Gbii7 → vi7 Ebmiv7 → i7minor plagal ×1

The move to watch is Bbm7 → Ebm7, heard 28 times. From the Ebm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii7 → vi7. 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 Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Abm7, 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 down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is Ebm7; the ear learns where home is within a second. The backbone is Bbm7, Ebm7, Abm7 — iii7–vi7–ii7 from the Gb side, v7–i7–iv7 from the Ebm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Ebm7 (iii7 → vi7 in Gb, v7 → i7 in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm7, 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.