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)
Athena - Skalonga - Chord
Key Gb major – Eb minor Chords Ebm, Bb, Abm, F, B, G#, F# Easy key C (capo 6)
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Ebm Abm Sevgilim ah bir anlasan, seni ne çok sevdigimi Ebm Bb Ebm Bb Ebm Bb Ebm Bb Ebm Sensiz hayat bos gelir bana, sensin benim tek tesellim Ebm Abm Artık uzat ellerini, o sıcak sevgi dolu kalbini Ebm Bb Ebm Bb Ebm Bb Ebm Bb Ebm Sen kaybettin,bozdun artık beni Ebm Abm Gel bak gel otur sana ne anlatıcam Ebm Bb Asıl derdimi tam açıklayacam Ebm Abm Bir dön baksan kolayca anlarsın Bb Ebm Fazla sorma yoksa pişman kalırsın B Ebm Kaç kere kaç ola... ooooooo Abm Bb Bb G# F# F Sen gerisine hiç karışma Ebm Abm O günler gelir aklıma, hep o bizim dama çıkınca Ebm Bb Ebm Bb Ebm Bb Ebm Bb Ebm Hiç mi sızlamıyor, kalbin dolmuş taşla, taşla Ebm Abm Bu son mektup işte sana, gözyaşlarını bilmem ama Ebm Bb Ebm Bb Ebm Bb Ebm Bb Ebm Naaah! Çok beklersin, bunlar rüya, rüya sana Ebm Abm Yetmedi mi,yetmedi mi, al daha Ebm Bb Gümbür gümbür eder herşey bir anda Ebm Abm Ne oldu,ah ne oldu, baksana Bb Ebm Yüce,mukaddes aşkımız bir anda B Ebm Kaç kere kaç ola... ooooooooo Abm Bb Bb G# F# F F Bb Sen gerisine hiç karışma
End of song Play again?
Athena - Skalonga Tabs
NotesX
Harmony analysis
Athena – Skalonga: key and chord analysis
The song opens on Ebm and ends on Bb. 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)
- #7 = D (harmonic-minor leading tone from the V chord)
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, Ebm is heard 34 times against 2 for Gb and the major V chord points straight at Ebm. 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 | F# | Tonic — home | F# · A# · C# | 2× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 10× |
| II | G# | Chromatic colour chordoutside the key | G# · B# · D# | 2× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 25× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 2× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 34× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| V/iii | F | Secondary dominant V/iii — leads to Bbmsecondary dominant | F · A · C | 3× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 34× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| V/v | F | Secondary dominant V/v — leads to Bbmsecondary dominant | F · A · C | 3× |
| III | F# | Relative major — the bright side | F# · A# · C# | 2× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 10× |
| IV | G# | Major IV — Dorian / melodic-minor colourmodal colour | G# · B# · D# | 2× |
| 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 | 25× |
| VI | B | Submediant — warm colour | B · D# · F# | 2× |
| 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). 7 different chords appear 78 times in total; 4 of them sit naturally inside the shared scale. The major V of Ebm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Gb, the same Bb is V/vi, a secondary dominant heading for Ebm. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×20
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×6
- Abm Bb Gbii → V/vi Ebmiv → Viv → V ×4
- B Ebm GbIV → vi EbmVI → iVI → i ×2
The move to watch is Bb → Ebm, heard 20 times. From the Ebm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Gb side it reads V/vi → 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- When Bb comes, swap the scale's Db for D: that single note is the harmonic-minor sound of the chord.
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 opening Ebm lays a solid floor for everything that follows. The backbone is Ebm, Bb, Abm, F — vi–V/vi–ii–V/iii from the Gb side, i–V–iv–V/v from the Ebm side. Bb is the interesting twist: in Gb it is a chromatic chord (V/vi), while in Ebm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → Ebm (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Bb; 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.
Athena - Skalonga 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.