Sancak - Bana Kendimi Ver (Taladro) - Chord

Key Gb major – Eb minor Chords Ebm, Db, B, Bbm Easy key G

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Capo 0

Ebm  Db  B  Bbm

Bu günahsız gözlerimi de yaktırma bana
Sana mı ona mı inanayım battım yalana
Tam unuttum dediğim an bulaştın yakama
Bi de onu öperken de baktın ya bana
Sen, en pis hali nefretin
Huzuru beni düşünmeden kendine çektin
Bu masaya bir resmin az geldi
Dön de gururum yine bana ihanet etsin

Bu evi, eşyaları bile sattırma bana
Bütün odaları sen ve kapandım odama
Kilidimi beynime vurup çektim kapıyı
İçeriye beni bile alan olmasa da, gel
Bana mutsuzmuş gibi bakma
İstanbul neresi diye bile sorma
Gidiyorum. Beni biliyorsun, duramam
Sırtıma koyduğun onlarca tonla

Yine her gece kendini yazdırma bana
Bir bırak beni ona buna sordurmasana
Düşünme sen gidince öldüğümü falan
Tek derdim onunla uyuduğun zaman
İsterdim başkası kokunu bilmesin
Ya da bilmeseydim şimdi kimlesin
Bu daha zor, onu biliyorum, onu tanıyorum
Unutamıyorum

Sonumu ecelden önce getirttirme bana
Garezim seni bana hiç unutturmamana
Kötüyüm bunu bile bile öldürme beni
Meleğim gibi bir gece sol yanıma gel
Bana düşmanmış gibi bakma
Ben yokken ne oldu diye sorma
Ölüyorum, bunu biliyorsun
Duramam, ömrüme koyduğun onlarca sonla

Gidemem, canım burnuma gelse de ben
Yine herkesi kendim sandım
Ya adam olamam ya da ben olamam
Bana kendimi ver, git
Eğer bir umut varsa içinde, yüreğim avuçlarının içinde
Benim ol diyemem sana zorlama beni
Seni başkası her gece gözlüyorken

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Sancak - Bana Kendimi Ver (Taladro) Tabs

NotesX

Harmony analysis

Sancak – Bana Kendimi Ver (Taladro): 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.

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)

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 Ebm is heard 1 times while Gb never appears. 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	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	—
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	1×
V/vi	Bb	Secondary dominant V/vi — leads to Ebmsecondary dominant	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	1×
V	Db	Dominant — strongest pull home	Db · F · Ab	1×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	1×
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	1×
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	—
v	Bbm	Minor dominant — soft pull	Bb · Db · F	1×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	1×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	1×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 4 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Db, land on Db, F, Ab — 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

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 chords that keep coming back are Ebm, Db, B, Bbm; read them as vi–V–IV–iii in Gb or i–VII–VI–v in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Bbm, 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.