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)
Funda Arar - Armağansın - Chord
Key Gb major – Eb minor Chords Bbm, Abm, B, Db, Ebm, Gb, Eb Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Bbm Db B Abm Bbm Abm Bbm Ebm Tuttuğumda elini Db B Yürekte can sesi var Db Eb Abm Gördüğümde yüzünü Bbm Abm Gb Ah içime sarasım var Bbm B Ben senin aşkınla yandım Abm Db Dur gözlerine daldım Gb B Bir yarınıma ortak Gb Abm Bbm Muradı sende aldım Ebm Öyle bir sevmişim gel de tarif et Db Bbm Sen bana armağansın B Ebm B Yüzümden süzülse inan bir damla Gb Abm Bbm Gönlümde çağlayansın
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Funda Arar - Armağansın Tabs
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Harmony analysis
Funda Arar – Armağansın: key and chord analysis
The song opens on Ebm 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 it opens on 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 | Gb | Tonic — home | Gb · Bb · Db | 4× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 7× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 8× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 6× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 5× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 4× |
| V/ii | Eb | Secondary dominant V/ii — leads to Abmsecondary dominant | Eb · G · Bb | 1× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 4× |
| V/iv | Eb | Secondary dominant V/iv — leads to Abmsecondary dominant | Eb · G · Bb | 1× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 4× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 7× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 8× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 6× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 5× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 7 different chords appear 35 times in total; 6 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B Gb GbIV → Iplagal cadence EbmVI → III ×2
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
- Db Gb GbV → Iauthentic cadence EbmVII → III ×1
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1
- Abm Db Gbii → Vii → V Ebmiv → VII ×1
- B Ebm GbIV → vi EbmVI → iVI → i ×1
The move to watch is B → Gb, heard 2 times. From the Ebm side it is VI → III; from the Gb side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 Abm, land on Ab, Cb, Eb — 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 Ebm, the song gives away its key from the very first bar. The backbone is Bbm, Abm, B, Db — iii–ii–IV–V from the Gb side, v–iv–VI–VII from the Ebm side. Eb adds a moment of surprise: secondary dominant V/ii — leads to Abm. Keep an ear on B → Gb (IV → I in Gb, VI → III in Ebm): plagal cadence — the soft 'amen' ending. Ending on Bbm, the song seals Gb 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.
Funda Arar - Armağansın 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: Süleyman BillorMusic: Süleyman Billor
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