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)
Yusuf Güney - Duydun mu - Chord
Key Db major – Bb minor Chords Fm, Gb, Ab, Ebm, Bbm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Ebm Bbm Fm Ab Bbm Ebm Ab Gb Fm
Fm Gb Fm Gb Ebm Ab Gb
Fm Gb Fm Gb Ab
Bbm Ab Gb Fm
Aşk beni ne hallere kooydun
Bbm Ab Gb Fm
Bunca zaman ben peşinde saavruuldum
Ab Ebm
Tam da bugün onu görünce onu görünce kavruldum
Bbm Ab Gb Fm
Hikayem uzun dertlerimle hooşbuuldum
Bbm Ab Gb Fm
Bilmiyorum sonu ne olur göörmüyorum
Bbm Ab Gb Fm
Özlüyorum tanımasam da düüşlüyorum
Ab Ebm
Sevince yürek kim ne derse duymuyorum
Bbm Ab Gb Fm
Yalvarırım ona deyin çok ööözlüyorum
Fm Gb
Çok sevdim duydun mu
Fm Gb
Yüreğinden vurdun mu
Ebm
Ben böyle ağlarken
Ab Gb Fm
Sen mutlu oldun mu
Fm Gb Fm Gb Ebm Ab Gb
Ebm Fm
Yanarım gençliğime hayallerime
Bbm Ebm Ab
Ben böyle aşkı sevdayı bıraktım ellere
Gb Fm
Bu sözlerim sevenlere
Fm Gb
Çok sevdim duydun mu
Fm Gb
Yüreğinden vurdun mu
Ebm
Ben böyle ağlarken
Ab Gb Fm
Sen mutlu oldun mu
End of song Play again?
Yusuf Güney - Duydun mu Tabs
NotesX
Harmony analysis
Yusuf Güney – Duydun mu: key and chord analysis
The song opens on Ebm and ends on Fm. 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 Bbm is heard 9 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 10× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 22× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 22× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 16× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 9× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 9× |
| 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 | 10× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 22× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 22× |
| 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 79 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
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×6
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×4
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×3
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
The move to watch is Ebm → Ab, heard 6 times. From the Bbm side it is iv → VII; from the Db side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Gb, land on Gb, Bb, Db — 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 first chord is Ebm; the ear learns where home is within a second. The chords that keep coming back are Fm, Gb, Ab, Ebm; read them as iii–IV–V–ii in Db or v–VI–VII–iv in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → Ab (ii → V in Db, iv → VII in Bbm): ii → V — the classic preparation of the dominant. Ending on Fm, 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.
Yusuf Güney - Duydun mu 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: Yusuf GüneyMusic: Yusuf GüneyArrangement: Ozan Sarıboğa
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