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)
Oğuzhan Koç - Müjdeler Ver - Chord
Key Db major – Bb minor Chords Fm7, Ebm7, Gb, Bbm7, Ab, Fm, Db Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm7
Bir sabah uyanip da
Bbm7
Bakarım belki olursun yanımda
Ebm7
Dokunur gururuma
Ab Gb Ebm7 Fm7
Beklerim seni bu evin anısına
Fm Bbm7
Yeter yeter geçer
Bbm7
Söyle bana nedir bu tafra
Gb Fm7
Sebepsiz hiç kaldım yasta
Db Fm7
Söz ver bana üzme beni
Ebm7 Fm7
Kırma beni yormam seni
Fm
Hadi gel müjdeler ver
Gb
Gözlerimdeki yaşı sil yeter
Ebm7
Tut tut ellerimi
Ab Gb Ebm7 Fm7
Sarıl sen de bana şımarık sevgilim
Fm7 Ebm7
Bbm7
Hayırsızım, ah hayırsızım
Gb Fm7
Sensiz inan çok yalnızım
Db Fm7
Hata değil benim yazgım
Ebm7 Fm7
Düzelmiyor, sevmen lazım
Fm
Hadi gel üzmeden gel
Gb
Ağlıyor kalbim sev yeter
Ebm7
Sev inan yeter
Ab Gb Ebm7 Fm7
Zordu yordu bu acı günler
End of song Play again?
Oğuzhan Koç - Müjdeler Ver Tabs
NotesX
Harmony analysis
Oğuzhan Koç – Müjdeler Ver: key and chord analysis
The song opens on Fm7 and ends on Fm7. 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 against 2 for Db. 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 | 2× |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 9× |
| iii7 | Fm7 | Mediant — a tonic-family shade | F · Ab · C · Eb | 11× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 3× |
| 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 | 3× |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 4× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 4× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 2× |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 9× |
| v7 | Fm7 | Minor dominant — soft pull | F · Ab · C · Eb | 11× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 3× |
| 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 | 3× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 39 times in total; 7 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
- Ebm7 Ab Dbii7 → Vii → V Bbmiv7 → VII ×3
- Ebm7 Bbm7 Dbii7 → vi7 Bbmiv7 → i7minor plagal ×1
- Fm7 Bbm7 Dbiii7 → vi7 Bbmv7 → i7natural-minor cadence ×1
- Fm Bbm7 Dbiii → vi7 Bbmv → i7natural-minor cadence ×1
The move to watch is Ebm7 → Ab, heard 3 times. From the Bbm side it is iv7 → VII; from the Db side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Ebm7, 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
Starting on Fm7, the song gives away its key from the very first bar. Fm7, Ebm7, Gb, Bbm7 carry the song: iii7–ii7–IV–vi7 relative to Db, v7–iv7–VI–i7 relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm7 → Ab (ii7 → V in Db, iv7 → VII in Bbm): ii → V — the classic preparation of the dominant. Ending on Fm7, 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.
Oğuzhan Koç - Müjdeler Ver 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: BendenizMusic: Bendeniz
Zeynep Türker
Zeynep Türker
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