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)
İkiye On Kala - Bana Gel Deme - Chord
Key Db major – Bb minor Chords Ab, Bbm, Gb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm
Balsın perisin gözümde
Susar herkes seni görünce
Ab
Bi de baksan, bi sigara yaksam
Bbm
İçsek hayatı bi dikişte
Nasıl olsa ölcez bu gidişle
Ab
Beni sarsan, sıkı sıkı sarsan
Gb
Kaçamadım o dipsiz gözlerinden
Bütün hikayeyi en gerisinden
Bbm
Alsan eni yeniden yazsan
Bbm
Bana gel demek kendime gelemem
Ab
Geceler beni çok seviyo
Gb
Şarteli olsa da indirsem
Ab
Bütün mahalle yanıyo
Bbm
Koca dünyada bi bana yokmuş yer
Kapımda türlü felaketler
Ab
Beni alsan, ah kurtarsan
Bbm
Aradıkça kayboldum ben
Haber alamıyorum hiç kendimden
Ab
Beni bulsan, ah durdursan
Gb
Düzeni değil seni sevdim diye
Beni öldüren kahraman olur
Bbm
Ama sen yapma, nolur yapma
Bbm
Bana gel demek kendime gelemem
Ab
Geceler beni çok seviyo
Gb
Şarteli olsa da indirsem
Ab
Bütün mahalle yanıyo
Bbm Ab Gb Ab
End of song Play again?
İkiye On Kala - Bana Gel Deme Tabs
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Harmony analysis
İkiye On Kala – Bana Gel Deme: key and chord analysis
The song opens on Bbm 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 it opens on Bbm and Bbm is heard 9 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 | — |
| 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 | 10× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 9× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 9× |
| 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 | — |
| 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 | 10× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 24 times in total; 3 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
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×4
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×3
- Gb Bbm DbIV → vi BbmVI → iVI → i ×2
The move to watch is Ab → Bbm, heard 4 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 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 first chord is Bbm; the ear learns where home is within a second. Ab, Bbm, Gb carry the song: V–vi–IV relative to Db, VII–i–VI relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. Ending on Ab, 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.
İkiye On Kala - Bana Gel Deme 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: UrasMusic: UrasArrangement: Ali Sak
Uras
Uras
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