Pinhani - Geri Dönemem - Chord

Key Gb major – Eb minor Chords G#m, B, Am, D#m, F#, C#, Em, D … Easy key C (capo 6)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

D#m    G#m    F#    G#m    Bb

D#m        G#m         C#
Yalnızım şehrin ortasında
F#          G#m        Bb                  
Yenilmişim daha ilk dakikada
D#m          G#m       C#
Bir adam içinde ben varım
F#            G#m        Bb
Beni gören yok içerde kalmışım

D#m                G#m 
Aranıza yeni geldim ben
    C#      F#         
Fazla kalamam
B            G#m  A#
Ama geri dönemem
D#m                   G#m 
Aslında yeni geldim ben
C#               F#            
Çok bir şey istemem
B            G#m   A#
Ama geri dönemem

Em             A       D
Simsiyah denizin ortasında
G            Am          B
Dolaşmışım ölümün etrafında
Em            A      D
Zaman bize yeniden şans verir
G              Am         B
Yeni bir hayat savaşmak demektir

Em               Am  
Aranıza yeni geldim ben
    D      G          
Fazla kalamam
C          Am    B
Ama geri dönemem
Em                   Am  
Aslında yeni geldim ben
D                G             
Çok bir şey istemem
C           Am   B
Ama geri dönemem

End of song Play again?

Pinhani - Geri Dönemem Tabs

NotesX

Harmony analysis

Pinhani – Geri Dönemem: key and chord analysis

The song opens on D#m and ends on B. 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)
#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 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	F#	Tonic — home	F# · A# · C#	5×
bII	G	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	G · B · D	4×
ii	G#m	Supertonic — prepares the dominant	G# · B · D#	10×
biii	Am	Chromatic colour chordoutside the key	A · C · E	6×
bIII	A	Borrowed from the parallel minorborrowed chord	A · C# · E	2×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to D#msecondary dominant	Bb · D · F	3×
V/vi	A#	Secondary dominant V/vi — leads to D#msecondary dominant	A# · D · E#	2×
IV	B	Subdominant — moves away from home	B · D# · F#	6×
#IV	C	Chromatic colour chordoutside the key	C · E · G	2×
V	C#	Dominant — strongest pull home	C# · E# · G#	4×
bVI	D	Borrowed from the parallel minorborrowed chord	D · F# · A	4×
vi	D#m	Relative minor — the melancholy side	D# · F# · A#	5×
bvii	Em	Chromatic colour chordoutside the key	E · G · B	4×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	D#m	Tonic — home	D# · F# · A#	5×
bii	Em	Chromatic colour chordoutside the key	E · G · B	4×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	F#	Relative major — the bright side	F# · A# · C#	5×
#III	G	Chromatic colour chordoutside the key	G · B · D	4×
iv	G#m	Subdominant — moves away from home	G# · B · D#	10×
#iv	Am	Chromatic colour chordoutside the key	A · C · E	6×
#IV	A	Chromatic colour chordoutside the key	A · C# · E	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	3×
V	A#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A# · D · E#	2×
VI	B	Submediant — warm colour	B · D# · F#	6×
#VI	C	Chromatic colour chordoutside the key	C · E · G	2×
VII	C#	Subtonic — steps back to the tonic	C# · E# · G#	4×
#VII	D	Chromatic colour chordoutside the key	D · F# · A	4×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 13 different chords appear 57 times in total; 5 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 / A# is V/vi, a secondary dominant heading for Ebm. D, G, A are borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

C# F# GbV → Iauthentic cadence EbmVII → III ×4
G#m C# Gbii → Vii → V Ebmiv → VII ×4
Bb D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×3
G#m Bb Gbii → V/vi Ebmiv → Viv → V ×3
G#m A# Gbii → V/vi Ebmiv → Viv → V ×2
A# D#m GbV/vi → vi EbmV → iharmonic-minor cadence ×1

The move to watch is C# → F#, heard 4 times. From the Ebm side it is VII → III; from the Gb side it reads V → I (authentic cadence: the strongest arrival home). 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 G#m, land on G#, B, D# — 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.
Over Am, land on A, C, E — 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.
On D, follow the chord's notes (D · F# · A) rather than the key's scale — it's a borrowed colour.

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
5 semitones up · capo 7 keeps the original pitch

The song's harmonic story

Starting on D#m, the song gives away its key from the very first bar. G#m, B, Am, D#m carry the song: ii–IV–biii–vi relative to Gb, iv–VI–#iv–i relative to Ebm. 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 C# → F# (V → I in Gb, VII → III in Ebm): authentic cadence — the strongest arrival home. The final chord is B; 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.