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)
Key Db major – Bb minor Chords Ab, Gb, Bbm, Fm, Db, Ebm, Bb Easy key G (capo 6)
Db Ab Ab Gb Gb Bbm Ebm Gb Ab Fm
Bbm Ebm
Bak ayrılık geldi yine
Ab Gb Fm
Bir yaprak düştü dalından
Bbm Ebm
O eşsiz güzelliğine
Ab Gb Fm
Hasretim artık her zaman
Bbm Ab
Sevdim seni çiçek çiçek
Bb
Gönlüme doldun petek petek
Bbm Ab
İster acı ister tatlı
Gb Fm
İçimde bu aşk tütecek
Bbm Ab
Ağlııyorum
Gb Fm
Ağlıyorum
Bbm Ab Gb Fm
Bbm Ab Db Gb Db
Tut ellerimden bırakma
Bbm Ab Db Gb Db
Beni hasretinle yaakma
Db Ab
Dudaklarımda şarkısın
Gb
Sen ömrümün tek aşkısın
Bbm Ebm
Aşkımız kalmasın yarım
Gb Ab Fm
Nolur hiç ayrılmayalım
Db Ab Ab Gb Gb Bbm Ebm Gb Ab Fm
Bbm Ebm
Sensiz nasıl yaşarım ben
Ab Gb Fm
Ufkumda gülen ışıksın
Bbm Ebm
Bin güzel geçse gönlümden
Ab Gb Fm
Sen ömrümün tek aşkısın
Bbm Ab
Sevdim seni çiçek çiçek
Bb
Gönlüme doldun petek petek
Bbm Ab
İster acı ister tatlı
Gb Fm
İçimde bu aşk tütecek
Bbm Ab
Ağlııyorum
Gb Fm
Ağlıyorum
Bbm Ab Gb Fm
Bbm Ab Db Gb Db
Tut ellerimden bırakma
Bbm Ab Db Gb Db
Beni hasretinle yaakma
Db Ab
Dudaklarımda şarkısın
Gb
Sen ömrümün tek aşkısın
Bbm Ebm
Aşkımız kalmasın yarım
Gb Ab Fm
Nolur hiç ayrılmayalım
End of song Play again?
Harmony analysis
The song opens on Db and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 opens on Db and Bbm is heard 20 times against 12 for Db. Try reading the chords both ways and see which feels more like home to you.
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 | 12× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 8× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 14× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 24× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 26× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 20× |
| V/ii | Bb | Secondary dominant V/ii — leads to Ebmsecondary dominant | Bb · D · F | 2× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 20× |
| V/iv | Bb | Secondary dominant V/iv — leads to Ebmsecondary dominant | Bb · D · F | 2× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 12× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 8× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 14× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 24× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 26× |
The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 106 times in total; 6 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
The move to watch is Fm → Bbm, heard 12 times. From the Db side it reads iii → vi; from the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Db lays a solid floor for everything that follows. Ab, Gb, Bbm, Fm carry the song: V–IV–vi–iii relative to Db, VII–VI–i–v relative to Bbm. Bb adds a moment of surprise: secondary dominant V/ii — leads to Ebm. 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.
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.
Ready-made lists by difficulty and mood.
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