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)
Mustafa Ceceli - Ötesi Yok - Sessizler - Chord
Key Gb major – Eb minor Chords Bbm, Ebm, B, Db, Abm Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm Ebm Bbm Ebm
Bbm Ebm
Bu aşkı bir rüya sanma sevgilim
Bbm Bbm
Rüyam rüyaların ötesindedir
Bbm
Nice aşıkları yaktı bu dünya
Abm Db Bbm
Dünyam dünyaların ötesindedir
Bbm Ebm
Gitmez ki kalbimden bu derin izler
Abm Db
Gözlerim ruhunu aşk ile izler
Bbm Ebm
Aşkımla boğulur mavi denizler
B Db Bbm
Deryam deryaların ötesindedir
Bbm Ebm
Kendini görürsün baksan gölgeme
B Bbm
İsmini bağırdım bütün aleme
Ebm
Sen bana divane Mecnun söyleme
B Db Bbm
Sevdam sevdaların ötesindedir
x2
Bbm Ebm B Bbm Bbm Ebm B Db Bbm
Bbm Ebm
Gel gör bu aşığın dünyası nedir
Bbm Ebm
Gerçeği yalansa rüyası nedir
Bbm
Sorma ki bu aşkın manası nedir
B Db Bbm
Manam manaların ötesindedir
Bbm Ebm
Kendini görürsün baksan gölgeme
B Bbm
İsmini bağırdım bütün aleme
Ebm
Sen bana divane Mecnun söyleme
B Db Bbm
Sevdam sevdaların ötesindedir
x2
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Mustafa Ceceli - Ötesi Yok - Sessizler Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Ötesi Yok - Sessizler: key and chord analysis
The song opens on Bbm and ends on Bbm. 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 Ebm is heard 13 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 | 2× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 24× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 8× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 7× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 13× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 13× |
| 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 | 2× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 24× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 8× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 7× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 54 times in total; 5 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×13
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×5
- Abm Db Gbii → Vii → V Ebmiv → VII ×2
The move to watch is Bbm → Ebm, heard 13 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → 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 Bbm, land on Bb, Db, 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 B, land on B, D#, F# — 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 Bbm, the song gives away its key from the very first bar. Bbm, Ebm, B, Db carry the song: iii–vi–IV–V relative to Gb, v–i–VI–VII relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm, 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.
Mustafa Ceceli - Ötesi Yok - Sessizler 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: Dildara EyübovaMusic: Dildara Eyübova
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