Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Mustafa Ceceli - Dayanak - Chord
Key Gb major – Eb minor Chords Bbm, Bmaj7, Abm7, Ebm, Db Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Bbm Bmaj7 Db Abm7
Bbm
Küsmüş bana üzmüşüm yari
Bmaj7
Affet bari insanlık hali
Bbm
Mazi derin ayrılık ani
Bmaj7
Gökyüzüne bir bak kalmadı mavi
Bbm
Hiç anlamaz mısın sen halden?
Bmaj7
Ne değişti söyle ne farkı var dünden?
Bbm
Isıtabilir mi geride ki küller
Abm7
Yorgun, argın, yalnız üşürken?
Bbm Ebm
Kal bana bir dayanak
Bbm
Daha da yanamam
Abm7
Buna dayanamam, vursunlar beni
Bbm Ebm
Yok benim hiç halim yok
Db
Mecalim yok
Abm7 Bbm
Yalana dolana, inancım kalmadı
Bbm Bmaj7
Çiz beni karalama defteri gibi
Bbm
Ya da sil yaralama yüreğimi
Bmaj7
Gelsin yangın üzerime
Bbm
Varsın beni yaksın
Bbm Bmaj7
Git yediremedim daha kendime
Bbm
Konduramadım kuşu taş kalbine
Abm7
Dün seni tarihe gömdüm
Taşa yazılı özürüm
Bbm Ebm
Kal bana bir dayanak
Bbm
Daha da yanamam
Abm7
Buna dayanamam, vursunlar beni
Bbm Ebm
Yok benim hiç halim yok
Db
Mecalim yok
Abm7 Bbm
Yalana dolana, inancım kalmadı
End of song Play again?
Mustafa Ceceli - Dayanak Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Dayanak: key and chord analysis
The song opens on Bbm and ends on Bbm. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because Ebm is heard 4 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | — |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 7× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 18× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 7× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 3× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 4× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 4× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv7 | Abm7 | Subdominant — moves away from home | Ab · Cb · Eb · Gb | 7× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 18× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 7× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 3× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 39 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
- Bbm Ebm Gbiii → vi Ebmv → inatural-minor cadence ×4
- Bmaj7 Db GbIVmaj7 → VIV → V EbmVImaj7 → VIIVI → VII ×1
The move to watch is Bbm → Ebm, heard 4 times. From the Ebm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Bmaj7, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- Over Abm7, land on Ab, Cb, 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Bmaj7, Abm7, Ebm; read them as iii–IVmaj7–ii7–vi in Gb or v–VImaj7–iv7–i in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Ebm (iii → vi in Gb, v → i in Ebm): natural-minor cadence — gentle, modal arrival. Ending on Bbm, the song seals Gb 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.
Mustafa Ceceli - Dayanak 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: Doğukan SarıtaşMusic: Doğukan SarıtaşArrangement: Mustafa Ceceli
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