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)
Key Gb major – Eb minor Chords Ebm, Bmaj7, Db, Bbm, Abm, Emaj7, Dbm, Ebm7 Easy key G
Ebm Bbm Bmaj7 Db Bmaj7 Db Ebm
Ebm Bbm
Yoluma çıkma sen desem
Bmaj7 Db
Canımı yakma sen desem
Bmaj7 Db
Uzak durup beni biraz
Ebm7
Anlar mısın
Ebm Bbm
İçimi yormadan gitsen
Bmaj7 Db
Ömrümü çalmadan bitsen
Bmaj7 Db
Benim hikayem deyip
Ebm
Susar mısın
Abm Emaj7
Yine yasak suskun günler
Dbm Ebm
Konuşmadan gelip geçer
Bmaj7 Db
İncelmiş bir şarkıda
Ebm
Seni söyler
Abm Emaj7
Sonu kayıp yarım izler
Dbm Ebm
Görünmeden silinirler
Bmaj7 Db
Kırılmış bir oyuncak gibi
Ebm
Renkler
End of song Play again?
Harmony 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.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 and Ebm is heard 10 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.
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 | 2× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 3× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 8× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 8× |
| v | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 9× |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 1× |
| bVIImaj7 | Emaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | E · G# · B · D# | 2× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 9× |
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 1× |
| bIImaj7 | Emaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | E · G# · B · D# | 2× |
| 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 | 2× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 3× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 8× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 8× |
| vii | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 2× |
The key pair is Gb major and its relative Eb minor (6 flats). 8 different chords appear 35 times in total; 6 of them sit naturally inside the shared scale. Emaj7 is borrowed from the parallel minor, adding a darker shade to the major side.
The move to watch is Bmaj7 → Db, heard 8 times. From the Ebm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Gb side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
Starting on Ebm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Bmaj7, Db, Bbm; read them as vi–IVmaj7–V–iii in Gb or i–VImaj7–VII–v in Ebm. Emaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bmaj7 → Db (IVmaj7 → V in Gb, VImaj7 → VII in Ebm): VI → VII — the rising step that heads for the tonic. 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.
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.
Ready-made lists by difficulty and mood.
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