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)
Melda Gürbey - Biten Bitti - Chord
Key Db major – Bb minor Chords Fm, Ebm, Gb, Bbm, Ab Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Ebm Fm Seninle biz çok yanlışız Ebm Çok yanmışız alevsiz harsız Gb Hiçbir yere sığamıyorum Ab Ne senle ne sensiz olamıyorum Bbm Nasıl bir yanlış bu yaptığın Gb Kaçar gibi gittin sormadım Fm Hesapta kapandı sandığım Ebm Gb Aşkının son perdesi bugün Bbm Biten bitti sükut-u hayal Fm Dinmiyor gözümde yaş Ebm Nerde bittiysek orda kal Gb Ab İkimizi de yendi bu savaş Bbm Bbm Fm Fm Ebm Ebm Gb Ab
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Melda Gürbey - Biten Bitti Tabs
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Harmony analysis
Melda Gürbey – Biten Bitti: key and chord analysis
The song opens on Fm and ends on Ab. 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 4 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 | 6× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 6× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 5× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 3× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 4× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 4× |
| 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 | 6× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 6× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 5× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 3× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 24 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
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×3
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
- Gb Bbm DbIV → vi BbmVI → iVI → i ×1
The move to watch is Gb → Ab, heard 3 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — 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
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. Fm, Ebm, Gb, Bbm carry the song: iii–ii–IV–vi relative to Db, v–iv–VI–i relative to 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 Ab, 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.
Melda Gürbey - Biten Bitti 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: Melda GürbeyMusic: Melda Gürbey
Tarık İsterArrangement: Tarık İster
Tarık İsterArrangement: Tarık İster
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