Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Bengü - Günaydın - Chord
Key Db major – Bb minor Chords Fm, Gbmaj7, Gb, Ab, Bbm, Ebm, Dbmaj7 Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Gbmaj7 Fm
Gbmaj7
Bir umutsun, ne güzelsin
Fm
Beni sevdin biliyorum
Gbmaj7
Kalbim sana çarptı
Ab Fm
Heyecandan ölüyorum
Bbm Gbmaj7
Yüzünü göreli, içim açılalı
Fm
Abayı yakalı, derdim şifalı
Gbmaj7 Ebm
Dilimin ucuna, yüreğe yazılı
Ab Fm
Bilirim ikimiz de sevdalı
Bbm Fm
Bi daha hisseder miyim diyordum böyle bir aşkı
Gbmaj7 Fm
Uyanıp gündüze gülerek diyebilmekmiş günaydın
Gb Ab Gb
Hele bi yanıma uzanıp uyu da, uzaklar olur yakın
Ebm Gb Dbmaj7
Kötü günler geride kaldı artık güldü bana bahtım
Bbm Fm
Bi daha hisseder miyim diyordum böyle bir aşkı
Gbmaj7 Fm
Uyanıp gündüze gülerek diyebilmekmiş günaydın
Gb Ab Gb
Hele bi yanıma uzanıp uyu da, uzaklar olur yakın
Ebm Gb Dbmaj7
Kötü günler geride kaldı artık güldü bana bahtım
End of song Play again?
Bengü - Günaydın Tabs
NotesX
Harmony analysis
Bengü – Günaydın: key and chord analysis
The song opens on Gbmaj7 and ends on Dbmaj7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between Db major and Bb minor because it comes to rest on Db and Bbm is heard 3 times against 2 for Db. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Db or to Bbm; 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 |
|---|---|---|---|---|
| Imaj7 | Dbmaj7 | Tonic — home | Db · F · Ab · C | 2× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 3× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 9× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IVmaj7 | Gbmaj7 | Subdominant — moves away from home | Gb · Bb · Db · F | 7× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 6× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 4× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 3× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 3× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| IIImaj7 | Dbmaj7 | Relative major — the bright side | Db · F · Ab · C | 2× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 3× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 9× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 7× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 6× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 4× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 34 times in total; 7 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
- Gb Dbmaj7 DbIV → Imaj7plagal cadence BbmVI → IIImaj7 ×2
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
- Gbmaj7 Ab DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×1
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×1
The move to watch is Gb → Dbmaj7, heard 2 times. From the Db side it reads IV → Imaj7 (plagal cadence: the soft 'amen' ending); from the Bbm side it is VI → IIImaj7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is Gbmaj7; the ear learns where home is within a second. Fm, Gbmaj7, Gb, Ab carry the song: iii–IVmaj7–IV–V relative to Db, v–VImaj7–VI–VII relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Dbmaj7 (IV → Imaj7 in Db, VI → IIImaj7 in Bbm): plagal cadence — the soft 'amen' ending. Ending on Dbmaj7, the song seals Db 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.
Bengü - Günaydın 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: Melda GürbeyMusic: Melda GürbeyArrangement: Tarık İster
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