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)
Bahtiyar Özdemir - Tek Tabanca Ceylan Koynat - Chord
Key Db major – Bb minor Chords Fm, Gb, Ebm, Bbm, F7, Ab Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Gb Fm Ebm
Fm Gb
Veda bile etmem sana
Fm Ebm
Çektiklerim hepsi boşa
Fm Gb
Peki ya kim girdi hayatına
F7
Ben gittikten hemen sonra
Fm Gb
Affedemem bir daha asla
Fm Ebm
Son sözlerim bunlar sana
Fm Gb
İçim belki paramparça
F7
Artık yolum tek tabanca
Bbm
Zaman bastım yarama
Gb
Geçecek sandım belki zamanla
Ebm
Ne istiyorsun ki benden hala
Fm Gb Ab
Bir canım kaldı, öldür beni de rahatla
Bbm
Zaman sardım yarama
Gb
Sarılır belki yalnızlığıma
Ebm
Ne istiyorsun ki benden hala
Fm Gb Bbm
Öldür beni de rahatla
End of song Play again?
Bahtiyar Özdemir - Tek Tabanca Ceylan Koynat Tabs
NotesX
Harmony analysis
Bahtiyar Özdemir – Tek Tabanca Ceylan Koynat : key and chord analysis
The song opens on Fm and ends on Bbm. 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)
- #7 = A (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it comes to rest on Bbm, Bbm is heard 3 times while Db never appears and the major V chord points straight at 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 | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 5× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 10× |
| V7/vi | F7 | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C · Eb | 2× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 9× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 1× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 3× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 3× |
| 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 | 5× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 10× |
| V7 | F7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C · Eb | 2× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 9× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 1× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 30 times in total; 5 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 is V7/vi, a secondary dominant heading for Bbm.
Chord movement
- F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×1
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
- Gb Bbm DbIV → vi BbmVI → iVI → i ×1
The move to watch is F7 → Bbm, heard once. From the Bbm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V7/vi → vi (secondary resolution: F7 resolves a fourth up to 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 Fm, land on F, Ab, C — 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.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- When F7 comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
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 Fm, the song gives away its key from the very first bar. Fm, Gb, Ebm, Bbm carry the song: iii–IV–ii–vi relative to Db, v–VI–iv–i relative to Bbm. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F7 → Bbm (V7/vi → vi in Db, V7 → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. It closes on Bbm, letting the Bbm 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.
Bahtiyar Özdemir - Tek Tabanca Ceylan Koynat 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: Sezgi ErciyasMusic: Sezgi ErciyasArrangement: Ercan Bal
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