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)
Bağzıları - Akışına Bıraktım Akmadı - Chord
Key Db major – Bb minor Chords Bbm, F, Db, Ebm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm F Bbm F Bbm Db Ebm F Bbm Db Akışına bıraktım akmadı Ebm F Bende kapattım yolu Bbm Db Baktım duvardan atlıyo Ebm F Amma yine akmıyo Bbm Db Ebm F Zaten bende çoktandır uykulu gibi bir hal var Bbm Db Ebm F Yıllarca uyusam bu evde neden diye sormaz kimse Bbm Db Ebm F Bbm Db Dön bir bak arkana dediler Ebm F Arkam döndü bana baktı Bbm Db Ebm F Nabıcaz be oğlum böyle nereye dönsem bi keder Bbm Db Ebm F Koştum arkandan bana doğru durmadı birde güldü Bbm Db Ebm F Akşama nasıl olsa dönücen geri sen bu eve Bbm Db Ebm F Durum bundan ibaaaret Bbm Db Ebm F Değiiişirse haber et Bbm Db Ebm F Geç kalma burda yorgunum Bbm Db Ebm F Uzuunları yaktım ben gidiyorum
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Bağzıları - Akışına Bıraktım Akmadı Tabs
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Harmony analysis
Bağzıları – Akışına Bıraktım Akmadı: key and chord analysis
The song opens on Bbm and ends on F. 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)
- #7 = A (harmonic-minor leading tone from the V chord)
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, Bbm is heard 16 times against 14 for Db and the major V chord points straight at Bbm. 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 | 14× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 14× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | 16× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 16× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 16× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 14× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 14× |
| 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 | 16× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 60 times in total; 3 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm.
Chord movement
- F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×15
- Ebm F Dbii → V/vi Bbmiv → Viv → V ×14
The move to watch is F → Bbm, heard 15 times. From the Bbm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V/vi → vi. 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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.
- When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
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 Bbm; the ear learns where home is within a second. The backbone is Bbm, F, Db, Ebm — vi–V/vi–I–ii from the Db side, i–V–III–iv from the Bbm side. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bbm (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. Ending on F, 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.
Bağzıları - Akışına Bıraktım Akmadı 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: Ömer NaldemirMusic: Ömer Naldemir
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