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)
Sertab Erener - Belki de Dönerim - Chord
Key Gb major – Eb minor Chords Ebm, B, Db, Ab, Bb Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm B Ebm
Gölde yalnız yüzen suna
Ebm B Ebm
Çölü aşan kör fırtına
Ebm B Ebm
Vur gayrı yükünü sırtıma
Ebm B
Ben belki de dönerim
Ebm B Ebm
Bir duman çek ben gitmeden
Ebm B Ebm
Tan yeli seherden esmeden
Ebm B Ebm
Kesilme yemeden içmeden
Ebm B
Ben belki de dönerim
Db B
Boynunu koklarım gitmeden
Db Bb
Çıkar giderim ses etmeden
Ebm
Camları sıkı ört ses olur geceler orman
Ebm
Telefona yakın ol hoş olur arayıp sorman
Ab
Cemre de dökülür dövülür yeni harman
Ebm
Belki de dönerim
Ebm
Üstünü sıkı giy üşüme geceler ayaz
Ebm
Resmime sarılıp yat uyu özlersen yaz
Ab
Güllerime su ver bu bahar önümüz yaz
Ebm
Belki de dönerim
Ebm B Ebm
Gölde yalnız yüzen suna
Ebm B Ebm
Çölü aşan kör fırtına
Ebm B Ebm
Vur gayrı yükünü sırtıma
Ebm B
Ben belki de dönerim
Db B
Yürür ayaklarım kendinden
Db B
Ruhumu yollar incitmeden
Ebm
Camları sıkı ört ses olur geceler orman
Ebm
Telefona yakın ol hoş olur arayıp sorman
Ab
Cemre de dökülür dövülür yeni harman
Ebm
Belki de dönerim
Ebm
Üstünü sıkı giy üşüme geceler ayaz
Ebm
Resmime sarılıp yat uyu özlersen yaz
Ab
Güllerime su ver bu bahar önümüz yaz
Ebm
Belki de dönerim
End of song Play again?
Sertab Erener - Belki de Dönerim Tabs
NotesX
Harmony analysis
Sertab Erener – Belki de Dönerim: key and chord analysis
The song opens on Ebm and ends on Ebm. 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 both starts and finishes on Ebm, Ebm is heard 33 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 | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| V/V | Ab | Secondary dominant V/V — leads to Dbsecondary dominant | Ab · C · Eb | 4× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | — |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | 1× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 15× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 4× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 33× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 33× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| IV | Ab | Major IV — Dorian / melodic-minor colourmodal colour | Ab · C · Eb | 4× |
| 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 | 1× |
| VI | B | Submediant — warm colour | B · D# · F# | 15× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 4× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 57 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. Ab acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- B Ebm GbIV → vi EbmVI → iVI → i ×11
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×4
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×1
The move to watch is B → Ebm, heard 11 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 Ebm, land on Eb, Gb, Bb — 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 Db, land on Db, F, Ab — 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
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Ebm, the song gives away its key from the very first bar. The backbone is Ebm, B, Db, Ab — vi–IV–V–V/V from the Gb side, i–VI–VII–IV 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 Ebm, letting the Ebm 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.
Sertab Erener - Belki de Dönerim 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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