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)
Gülben Ergen - Müsaadenle - Chord
Key Gb major – Eb minor Chords Ebm, Abm, B, Bb, Gb, Bbm, Fm, Db … Easy key C (capo 6)
No ratings yet
or your user informations
Make it yours
Text size
Key: Gb | D#m | Ebm
Capo: 0
Ebm Ebm Abm Abm Fm Bb Ebm
Ebm
Kimi hayalini yaşar
B Ebm
Kimi kapılır akıntıya gider
Kimi direnir hayata
B
Kimi son durduğu yerde biter
Abm B Bb
Sim gibi parlar bir güler bir ağlar
Abm Gb
Film gibi geçer gözünden hatıralar
Ebm B
Biri çıkar karşına
Abm Ebm
Seni alır senden gider
B
Biri öyle bi dağıtır ki
Eb Abm
Tek parçan kalmaz döker
B Bb
Kim gibi dersen, aynanın önünde dur bi bak
Db Gb Bbm
Eser sahibi karşınızdalar
Abm Gb Bbm
Ben hep bir dediğini iki etmedim mi
Abm Ebm
Söyle sevmediğini sana yetmedim mi
Abm B
İstedin de dünyayı ayağına sermedim mi
Db
Göz göre göre üstüme üstüme
Gb Bbm
Basıp geçmedin mi
Ebm
Madem zorla güzellik olmuyorsa
Korla bu ateş de yanmıyorsa
Abm
Gittim ben müsaadenle
Fm
Sonra dönüp bi bakarsın
Bb Ebm
Bi ara kına da yakarsın yeni yarenle
End of song Play again?
Gülben Ergen - Müsaadenle Tabs
NotesX
Harmony analysis
Gülben Ergen – Müsaadenle: 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 10 times against 4 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | 4× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 10× |
| 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 | 4× |
| IV | B | Subdominant — moves away from home | B · D# · F# | 7× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 2× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 10× |
| V/ii | Eb | Secondary dominant V/ii — leads to Abmsecondary dominant | Eb · G · Bb | 1× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 10× |
| V/iv | Eb | Secondary dominant V/iv — leads to Abmsecondary dominant | Eb · G · Bb | 1× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| ii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 2× |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 4× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | 10× |
| 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 | 4× |
| VI | B | Submediant — warm colour | B · D# · F# | 7× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 2× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 9 different chords appear 43 times in total; 6 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. Eb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bb Ebm GbV/vi → vi EbmV → iharmonic-minor cadence ×2
- Db Gb GbV → Iauthentic cadence EbmVII → III ×2
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×2
- B Ebm GbIV → vi EbmVI → iVI → i ×1
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×1
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×1
The move to watch is Bb → Ebm, heard 2 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — 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
The first chord is Ebm; the ear learns where home is within a second. The backbone is Ebm, Abm, B, Bb — vi–ii–IV–V/vi from the Gb side, i–iv–VI–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 Bb → Ebm (V/vi → vi in Gb, V → i in Ebm): harmonic-minor cadence — the major V resolves dramatically. Ending on Ebm, the song seals Ebm as home.
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.
Gülben Ergen - Müsaadenle 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.