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)
Derya Uluğ - Kanunlar Gibi - Chord
Key Db major – Bb minor Chords Ebm, Bbm, Db, Gb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Db Gb Ebm
Ebm Bbm Db
Üşüyor musun sen de benim gibi
Gb Ebm
Gülüyor musun ya da alay edip
Bbm
Üzecek bu da belli
Db Gb Ebm
Gün gelir, onca verdiğin sahte söz gibi
Bbm Db
Unutamıyorum, anlasam
Gb Ebm
Gurur bile çare etmiyor
Bbm
Yazık duramıyorum
Db
Geçer daha
Gb Ebm
Dayanmaya gücüm yetmiyor aaaah
Bbm Db
Üzüyor gece kabuslar gibi
Gb Ebm
Gittin sen de vefasızlar gibi
Bbm Db
Çıkarım önüne kanunlar gibi
Gb Ebm
Haklıysam, aslanlar gibi
End of song Play again?
Derya Uluğ - Kanunlar Gibi Tabs
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Harmony analysis
Derya Uluğ – Kanunlar Gibi: key and chord analysis
The song opens on Bbm and ends on Ebm. 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. 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 | 7× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 8× |
| 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 | 7× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 7× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 7× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 7× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 8× |
| 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 | 7× |
| 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 29 times in total; 4 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
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×6
The move to watch is Ebm → Bbm, heard 6 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → 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 Ebm, land on Eb, Gb, Bb — 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 Db, land on Db, F, Ab — 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
Starting on Bbm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Bbm, Db, Gb; read them as ii–vi–I–IV in Db or iv–i–III–VI in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. The final chord is Ebm; the ear comes to rest in Db.
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.
Derya Uluğ - Kanunlar Gibi 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: Emrah KarakuyuMusic: Emrah KarakuyuArrangement: Ozan Bayraşa
Asil Gök
Asil Gök
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