Simge - Malum - Chord

Key Gb major – Eb minor Chords Bbm7, Gbmaj7, Abm7, Db7, Ebm7, Bmaj7 Easy key C (capo 6)

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Capo 0

Bbm7  Bbm7  Gbmaj7  Bbm7  Bbm7  Gbmaj7 
Abm7  Abm7  Ebm7  Db7  Gbmaj7  Db7  Gbmaj7

Bbm7
Neredeysen çık gel

İyi değil halim, çözemedi kalbim
                 Gbmaj7    Abm7
Yine düğüm düğüm düğümlendiim

Abm7
Gözümdeki hayalleri sile sile
          Ebm7
Dilindeki yalanları bile bile
Db7
Doğuyor gün sensiz yine
Bmaj7
Çile bülbülüm çile

Bmaj7
Görsen anlarsın zaten

Söndü bütün ışıklarım
Ebm7                 Bbm7
Öylesine değil ölürcesine
               Bmaj7
Hep sana aşığım, aşığınım

Bbm7                           Gbmaj7
Senden sonram malum, savruldum dertten
Bbm7                           Gbmaj7  Abm7
Gülerek çok sert vurdun, vedalaşırkeeeeeen
                           Ebm7
Sanki düşmanımdı, taptığım gözler
Db7                Bmaj7
Öyle bir baktın ki, hala susuyorum
x2

Bbm7  Bbm7  Gbmaj7  Bbm7  Bbm7  Gbmaj7 
Abm7  Abm7  Ebm7  Db7  Gbmaj7  Db7  Gbmaj7

End of song Play again?

Simge - Malum Tabs

NotesX

Harmony analysis

Simge – Malum: key and chord analysis

The song opens on Bbm7 and ends on Gbmaj7. 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 Gb major side because it comes to rest on Gb and Gb is heard 11 times against 5 for Ebm. That is an interpretation, not a rule — hearing the same chords from Eb minor is just as valid and teaches you something different.

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
Imaj7	Gbmaj7	Tonic — home	Gb · Bb · Db · F	11×
ii7	Abm7	Supertonic — prepares the dominant	Ab · Cb · Eb · Gb	7×
iii7	Bbm7	Mediant — a tonic-family shade	Bb · Db · F · Ab	12×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IVmaj7	Bmaj7	Subdominant — moves away from home	B · D# · F# · A#	4×
V7	Db7	Dominant — strongest pull home	Db · F · Ab · Cb	6×
vi7	Ebm7	Relative minor — the melancholy side	Eb · Gb · Bb · Db	5×
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	5×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
IIImaj7	Gbmaj7	Relative major — the bright side	Gb · Bb · Db · F	11×
iv7	Abm7	Subdominant — moves away from home	Ab · Cb · Eb · Gb	7×
v7	Bbm7	Minor dominant — soft pull	Bb · Db · F · Ab	12×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VImaj7	Bmaj7	Submediant — warm colour	B · D# · F# · A#	4×
VII7	Db7	Subtonic — steps back to the tonic	Db · F · Ab · Cb	6×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 6 different chords appear 45 times in total; 6 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

Db7 Gbmaj7 GbV7 → Imaj7authentic cadence EbmVII7 → IIImaj7 ×4
Abm7 Ebm7 Gbii7 → vi7 Ebmiv7 → i7minor plagal ×4
Bmaj7 Ebm7 GbIVmaj7 → vi7 EbmVImaj7 → i7VI → i ×1

The move to watch is Db7 → Gbmaj7, heard 4 times. From the Gb side it reads V7 → Imaj7 (authentic cadence: the strongest arrival home); from the Ebm side it is VII7 → IIImaj7. 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 Gbmaj7, land on Gb, Bb, Db — 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 up

The song's harmonic story

Starting on Bbm7, the song gives away its key from the very first bar. The chords that keep coming back are Bbm7, Gbmaj7, Abm7, Db7; read them as iii7–Imaj7–ii7–V7 in Gb or v7–IIImaj7–iv7–VII7 in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db7 → Gbmaj7 (V7 → Imaj7 in Gb, VII7 → IIImaj7 in Ebm): authentic cadence — the strongest arrival home. The final chord is Gbmaj7; the ear comes to rest in Gb.

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.