Yiğit Mahzuni - Ölene Kadar - Chord

Key Db major – Bb minor Chords Fm, Bbm, Ab, Gb, Ebm Easy key C (capo 1)

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Capo 0

Fm                   Bbm
Bir kere bile yüzünü görmeden
                         Ebm
Bi ömür nasıl yaşaya bilirim
Ab                  Bbm
Sevdiğim tek şarkım ben seni dinlemeden
                 Gb     Fm
Nasıl bir sabaha uyanabilirim

Fm                    Bbm
En güzel hayalimi saçının teline
                     Ab
Değişmem göstere bilirim
Bbm    Ab      Gb
Bir resmin içinde gülüşün
Ebm             Ab       Fm
Onunla birlikde yaşlanabilirim

Fm
Olmasın güneş sen doğ sabahıma
Bbm              Gb
Aşkınla karanlık geceye gülerim
Ebm
Yakmasın ateş sen sarıl yat yanıma
Bbm      Ab       Gb       Fm
Sevginle bir ömür titreyebilirim

Fm
Gönlüme bir eş buldum sonunda
Bbm             Gb
Geriye kalandan vazgeçebilirim
Ebm
Kalbim erimiş aşkının yolunda 
Bbm         Ab        Gb       Fm
Ölene kadar sevdiğimi söyleyebilirim

End of song Play again?

Yiğit Mahzuni - Ölene Kadar Tabs

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Harmony analysis

Yiğit Mahzuni – Ölene Kadar: key and chord analysis

The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

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: to us the song feels closer to the Bb minor side because Bbm is heard 8 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	4×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	8×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	6×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	6×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	8×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	8×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	4×
v	Fm	Minor dominant — soft pull	F · Ab · C	8×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	6×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	6×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 32 times in total; 5 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

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×4
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
Ebm Ab Dbii → Vii → V Bbmiv → VII ×2

The move to watch is Fm → Bbm, heard 4 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, 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 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 opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Bbm, Ab, Gb; read them as iii–vi–V–IV in Db or v–i–VII–VI in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. It closes on Fm, letting the Db 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.