Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Emre Nalbantoğlu - Gülerim Halime - Chord
Key Db major – Bb minor Chords Ab, Gb, Ebm7, Bbm7 Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Ab Nolur nolmaz şişşş, benim halimin adı Gb Doldum oldum hiç, çaktım alime çalım Ab Görülmez olmuş düş, deli derdin gamı Gb Sakin yavrum hişş, para bulmuş zalım Ab Malum olmuş aşk, gül değmiş ele Gb Bal çanağından, nasip olmuş dile Ab Öp dudağından, haram alsın ateş Gb Mis kucağında, yine doğsun güneş Ebm7 Bbm7 Ben yine gülerim halime, vay halime Ebm7 Bbm7 Belki de gelirim yanına, yar yanına Ebm7 Bbm7 Ah yine düştüm derdine, vay derdine Ebm7 Bbm7 Ab Gelsem girsem koynuna, yar koynuna Ab Saçma sapan iş, başımıza gelen Gb Ne söylersen suç, yok cevabı bilen Ab Zardır zordur şans, hadi gelsin düşeş Gb Bizde olmaz boş, selamlar düşes Ab Geldim gördüm vay, yen’cem ettim niyet Gb Yanımda yarim var, yine öptüm evet Ab Yolundan dönmez aşk, gönül almış ateş Gb Mis kucağında, yine doğsun güneş Ebm7 Bbm7 Ben yine gülerim halime, vay halime Ebm7 Bbm7 Belki de gelirim yanına, yar yanına Ebm7 Bbm7 Ah yine düştüm derdine, vay derdine Ebm7 Bbm7 Ab Gelsem girsem koynuna, yar koynuna
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Emre Nalbantoğlu - Gülerim Halime Tabs
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Harmony analysis
Emre Nalbantoğlu – Gülerim Halime: key and chord analysis
The song opens on Ab and ends on Ab. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 8 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 8× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 10× |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 8× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 8× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 8× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 10× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 34 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
- Ebm7 Bbm7 Dbii7 → vi7 Bbmiv7 → i7minor plagal ×8
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×6
The move to watch is Ebm7 → Bbm7, heard 8 times. From the Bbm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Db side it reads ii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — 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.
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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em 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 opening Ab lays a solid floor for everything that follows. The chords that keep coming back are Ab, Gb, Ebm7, Bbm7; read them as V–IV–ii7–vi7 in Db or VII–VI–iv7–i7 in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm7 → Bbm7 (ii7 → vi7 in Db, iv7 → i7 in Bbm): minor plagal — deep and melancholic. Ending on Ab, the song seals Db 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.
Emre Nalbantoğlu - Gülerim Halime 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: Emre NalbantoğluMusic: Emre Nalbantoğlu
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