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)
Hemsaye - Fısıltı - Chord
Key Gb major – Eb minor Chords Ebm, Bbm, Abm, B Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm Bbm Abm Ebm
Ebm Bbm B Ebm
Ebm Bbm
Hangi çiçekten çalıntıdır huyun
Abm Ebm
Hangi ırmağın peşinde kaybolur güzün
Bbm
Çok yürüsem ormanında bulur muyum
B Ebm
Hangi ceylanın gözünde saklıdır yüzün
Ebm Bbm
Sır bu çığlığın fısıltısındadır
Abm Ebm
Uykunuz derin, rüyanız hatırlanmadı
B
Ben vurulduğum masalın ortasındayım
Bbm Ebm
Prensesler de kalp söker, hiç yanılmadın
Ebm Bbm
Ay ışığına, bir göl kayığına
Abm Ebm
Sakladım acımı gül yanağına
Bbm
Gülümsemesi yakamoz
B Ebm
Işığına vurulduğum o gecede
Ebm Bbm
Kaç çiçeği koparıp uzağıma
Abm Ebm
Solsun elimizi sürdüğümüz her şey
B Bbm Ebm
İnadına sevip, yolumu yürürüm yine de
Ebm Bbm Abm Ebm
Ben deniz yazmayı sizden öğrendim
Bbm Abm Ebm
Elimde mavi kalemler bi poyraz çizmişim
Bbm Abm Ebm
Kıyındayım da aklımda ufkunuz var
Bbm Abm Ebm
Yüzümde eskiyen bu hazineyi bul, kaçır da
Ebm Bbm B Ebm
Sakla derinde, rüzgar benimle
Bbm B Ebm
Kerteriz aldığım yıldız bu göğün en tepesinde
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Hemsaye - Fısıltı Tabs
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Harmony analysis
Hemsaye – Fısıltı: 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)
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 24 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | 9× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 16× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 7× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 24× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 24× |
| 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 | 9× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 16× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 7× |
| 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 56 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
- Abm Ebm Gbii → vi Ebmiv → iminor plagal ×9
- B Ebm GbIV → vi EbmVI → iVI → i ×5
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×2
The move to watch is Abm → Ebm, heard 9 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → 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 Bbm, land on Bb, Db, F — 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.
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 Ebm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Bbm, Abm, B; read them as vi–iii–ii–IV in Gb or i–v–iv–VI in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Ebm (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. 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.
Hemsaye - Fısıltı 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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Lyrics: HemsayeMusic: Hemsaye
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