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)
Murat Dalkılıç - Müjgan - Chord
Key Db major – Bb minor Chords Fm, Gb, Ab, Eb, Ebm, Bbm, Db Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Ab Gb Eb
Fm Ab Gb Eb
Aklımı yerinde durduramam ki
Fm Ab Gb Eb
Kalbime hükmedeyim
Fm Ab Gb Eb Gb
Yerlere göklere sığdıramaz ki bu dilim
Fm
Yüzünü sevdiğim
Fm Gb
Yanağının orta yerindeki gamzesi
Ebm Fm Gb Ab
Pes, muadili yok
Bbm Db Gb Ebm
Gözünün, kirpiğinin güzelliği peki
Fm
Öyle bi müjgan yok
Fm Ab Gb Fm
Gördüğümüz, geçirdiğimizdendir
Gb Fm
Çok uzatmadık
Fm Ab Gb Fm
Ne esmerler, ne kumrallardan
Ab Gb
Sırayı savdık
Gb Bbm
Başımı döndürünce zekice
Db Ab
Düz çizgide yürürüz sandık
Bbm Ab
Yandık ya yandık
Gb Fm Ebm
Hey yavrum hey
Gb Fm
Sen insansan diğerleri ney
Fm Ab Gb Eb
Gb Ebm Fm
Sen insansan diğerleri ney
End of song Play again?
Murat Dalkılıç - Müjgan Tabs
NotesX
Harmony analysis
Murat Dalkılıç – Müjgan: 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.
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 3 times against 2 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 | 2× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 4× |
| V/V | Eb | Secondary dominant V/V — leads to Absecondary dominant | Eb · G · Bb | 5× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 17× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 17× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 11× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 3× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 3× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 2× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 4× |
| IV | Eb | Major IV — Dorian / melodic-minor colourmodal colour | Eb · G · Bb | 5× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 17× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 17× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 11× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 59 times in total; 6 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
- Gb Bbm DbIV → vi BbmVI → iVI → i ×1
The move to watch is Ab → Bbm, heard 2 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 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 Fm; the ear learns where home is within a second. Fm, Gb, Ab, Eb carry the song: iii–IV–V–V/V relative to Db, v–VI–VII–IV relative to Bbm. Eb adds a moment of surprise: secondary dominant V/V — leads to Ab. 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 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.
Murat Dalkılıç - Müjgan 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: Murat DalkılıçMusic: Murat DalkılıçArrangement: Miraç Kutlu
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