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)
Sedat Keskin - Aramazsan Arama - Chord
Key Db major – Bb minor Chords Ab, Bbm, Db, Ebm, Gb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ab Bbm
İki yarali yürek biri sen biri ben
Ab Bbm
Var midir bizim gibi severek ayrı gezen
Db Ebm Ab
Aramazsan arama ilaç olma yarama
Bbm Ab Bbm
Benda unuttım derum seni bana sorana
Db Ebm Ab Db
Aramazsan arama ilaç olma yarama
Gb Ab Bbm
Benda unuttım derum seni bana sorana
Db Ebm Ab Db Gb Gb Ab Bbm
Bbm Ab Bbm
Gökteku yıldızların bilinmez var mı eşi
Ab Bbm
Sen gittin yüreğime dolmaz sabah güneşi
Db Ebm Ab Db
Aramazsan arama ilaç olma yarama
Gb Ab Bbm
Benda unuttım derum seni bana sorana
Bbm Ab Bbm
Sen orada ben burda uzak kaldu yaramuz
Ab Bbm
Kavuşamak eğer iyileşmez yaramuz
Db Ebm Ab Db
Aramazsan arama ilaç olma yarama
Gb Ab Bbm
Benda unuttım derum seni bana sorana
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Sedat Keskin - Aramazsan Arama Tabs
NotesX
Harmony analysis
Sedat Keskin – Aramazsan Arama: key and chord analysis
The song opens on Bbm and ends on Bbm. 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: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 15 times against 9 for Db. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | 9× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 5× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 5× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 16× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 15× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 15× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 9× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 5× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 5× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 16× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 50 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
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×12
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×5
- Ab Db DbV → Iauthentic cadence BbmVII → III ×4
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4
The move to watch is Ab → Bbm, heard 12 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). 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 Ab, land on Ab, C, Eb — 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 Db, land on Db, F, Ab — 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Bbm; the ear learns where home is within a second. The backbone is Ab, Bbm, Db, Ebm — V–vi–I–ii from the Db side, VII–i–III–iv from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. It closes on Bbm, letting the Bbm 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.
Sedat Keskin - Aramazsan Arama 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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