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)
Cengiz Kurtoğlu - Hain Geceler - Chord
Key Gb major – Eb minor Chords Bb, G#m, B, Ebm Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bb G#m
Geceler düşmandır bundan sonra bana
B Bb
Yaşamak artık haram sensiz buralarda
G#m
Hayaller kurardık günlerce başbaşa
B Bb
Seni alıp götürdüler kaldım bir başıma
Bb G#m
Kadehlerde mutluluğu aradım günlerce
B Bb
Tek dostum meyler oldu sensiz gecelerde
Ebm Bb
Düşenin dostu olmaz derlerdi inanmazdım
G#m B Bb
Senden başka kimseyi yar sayamadım
Ebm
Derdime derman meyler
B
Dilim ismin heceler
G#m Bb
Seni benden aldılar hain geceler
Ebm
Güneşin doğduğu günler
B
Yaşamaktan da beter
G#m Bb
Sana nasıl kıydılar hain geceler
End of song Play again?
Cengiz Kurtoğlu - Hain Geceler Tabs
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Harmony analysis
Cengiz Kurtoğlu – Hain Geceler: key and chord analysis
The song opens on Bb 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 Ebm is heard 3 times while Gb never appears 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 | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 6× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 9× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 6× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 3× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 3× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 6× |
| 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 | 9× |
| VI | B | Submediant — warm colour | B · D# · F# | 6× |
| 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). 4 different chords appear 24 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.
Chord movement
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×3
- G#m Bb Gbii → V/vi Ebmiv → Viv → V ×2
The move to watch is Bb → Ebm, heard 3 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- 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.
- 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 up
The song's harmonic story
Starting on Bb, the song gives away its key from the very first bar. Bb, G#m, B, Ebm carry the song: V/vi–ii–IV–vi relative to Gb, V–iv–VI–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 Bb → Ebm (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. It closes on Bb, 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.
Cengiz Kurtoğlu - Hain Geceler 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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