Pilli Bebek - Hilal'in Şarkısı - Chord

Key Gb major – Eb minor Chords B, Ebm, Gb, Bb, E Easy key G

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Capo 0

Ebm                         B
Bir bakışta gördüm sıcaklığını 
Ebm                         B
Bir dokunuşta duydum saflığını 
Ebm                      B
Çocukça bir rengin olduğunu 
Ebm                        B
Bir nefesle çektim dostluğunu 

Gb           Bb   Gb      Bb
Ve her gece sen, sen uyurken
Gb       Bb        Gb    Bb    E
Okşadım saçlarını, uyandırmadan
     B      E     Gb
Uyandırmadan uyandırmadan

Ebm                            B
Su gibi dupduru bir can olduğunu 
Ebm                           B
Erken büyüdüğün için yorulduğunu 
Ebm                          B
Denizlerin mavi meleği olduğunu 
Ebm                        B
Bir nefeste çektim dostluğunu

End of song Play again?

Pilli Bebek - Hilal'in Şarkısı Tabs

NotesX

Harmony analysis

Pilli Bebek – Hilal'in Şarkısı: key and chord analysis

The song opens on Ebm 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, Ebm is heard 8 times against 5 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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	5×
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	—
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	—
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	4×
IV	B	Subdominant — moves away from home	B · D# · F#	9×
V	Db	Dominant — strongest pull home	Db · F · Ab	—
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	8×
bVII	E	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	E · G# · B	2×
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	8×
bII	E	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	E · G# · B	2×
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	5×
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	—
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	4×
VI	B	Submediant — warm colour	B · D# · F#	9×
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). 5 different chords appear 28 times in total; 3 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. E is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

B Ebm GbIV → vi EbmVI → iVI → i ×6
B Gb GbIV → Iplagal cadence EbmVI → III ×1
E Gb GbbVII → IbVII → I EbmbII → III ×1

The move to watch is B → Ebm, heard 6 times. From the Ebm side it is VI → i (VI → i: falls a half step into home); from the Gb side it reads IV → 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 B, land on B, D#, 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 Gb, land on Gb, Bb, Db — 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 E, follow the chord's notes (E · G# · B) 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

1 semitone up
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The opening Ebm lays a solid floor for everything that follows. The backbone is B, Ebm, Gb, Bb — IV–vi–I–V/vi from the Gb side, VI–i–III–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 B → Ebm (IV → vi in Gb, VI → i in Ebm): VI → i — falls a half step into home. It closes on B, 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.