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)
Çağan Şengül - Yaratılış'ın İkinci Günü (Hemsaye) - Chord
Key Db major – Bb minor Chords Ab, Bbm, Gb, Fm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Bbm Gb Gb Ab Ab Ab Fm
Bbm
Kurduğum deniz sesin
Gb Ab
İnandığım yerin göğün devrilmesin
Fm
Eksik bi yöndesin
Bbm Gb
Kandırınca renginiz, akşam olunca gizlerim
Ab Fm
Uzandığın dallar mı meyvesiz
Bbm Gb Ab
Çoktan geçmişti çizgiyi kalbimiz
Fm Bbm
Geriye dönüş yok eskiden beri yersiziz
Gb Ab
Her şey gibi az ve uzak değildi maviniz
Fm
Çok yakındı yitti sahiniz
Bbm
Yüzünden tanımıştım, gördüğümde anladım
Gb
Senden başka sebebim yok, çocukluk salıncağım
Ab
Yüzüme vuran rüzgarım, koşarken ki heyecanım
Fm
İçimden atamadığım en büyük korkularım
Bbm
Tüm sıfatlar gereksiz, yeterlidir varlığın
Gb
Adımlarım ağır ağır, kokun denizdi anladım
Ab
Düşünmem bırakmayı, ruhumda dudak payı
Fm
Bıraktım sana, iç kana kana
Bbm Bbm Gb Gb Ab Ab Ab Fm
Bbm Gb
Kokun deniz ama
Ab
İzin vermez Ankara
Bir adım gidemem
Fm
Geriye dönemem seni almadan oradan
Bbm Gb
Yorulmuşsun ama
Ab
Yaslan omzuma
Bir masalın yükü düşer
Fm
Sensiz her gece aklıma
End of song Play again?
Çağan Şengül - Yaratılış'ın İkinci Günü (Hemsaye) Tabs
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Harmony analysis
Çağan Şengül – Yaratılış'ın İkinci Günü (Hemsaye): key and chord analysis
The song opens on Bbm 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 it opens on Bbm and Bbm is heard 12 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 | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 10× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 12× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 14× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 12× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 12× |
| 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 | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 10× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 12× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 14× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 48 times in total; 4 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 Ab DbIV → VIV → V BbmVI → VIIVI → VII ×10
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×9
The move to watch is Gb → Ab, heard 10 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Ab, Bbm, Gb, Fm; read them as V–vi–IV–iii in Db or VII–i–VI–v in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. 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.
Çağan Şengül - Yaratılış'ın İkinci Günü (Hemsaye) 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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