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)
Ufuk Çalışkan - Düğme - Chord
Key Db major – Bb minor Chords Fm, Bbm, Ab, Gb, Bb, Bm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm Ab Gb
Bbm
Artık arayıp sormaz
Fm
Rüyalarıma da girmez oldun
Ab Bb
Kime istisna neye istinaden
Bbm
Sararıp soldu güller
Fm
Su vermez ki o eller
Fm Bm
Kime istisna neye istinaden
Bbm
Senden sonra kaç dalga
Fm
Vurdu kıyılarıma
Ab
Ama ayak izlerin
Gb
Hala kumlarımda
Bbm Fm
Düğme ilikledik aşk karşısında
Ab Gb
Boynumuz kıldan ince bu gönül yolunda
Bbm Fm
El pençe durmuşuz aşkın en ön safında
Ab Gb
Her ne gelecekse gelsin revadır yolunda
Bbm
Artık kapımı çalmaz
Fm
Sokağımdan geçmez oldun
Ab Bb
Kime istisna neye istinaden
End of song Play again?
Ufuk Çalışkan - Düğme Tabs
NotesX
Harmony analysis
Ufuk Çalışkan – Düğme: key and chord analysis
The song opens on Bbm and ends on Bb. 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 7 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 | 8× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 4× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 6× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 7× |
| VI | Bb | Chromatic colour chordoutside the key | Bb · D · F | 2× |
| bvii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 7× |
| I | Bb | Chromatic colour chordoutside the key | Bb · D · F | 2× |
| bii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| 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 | 8× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 4× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 6× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 28 times in total; 4 of them sit naturally inside the shared scale. Bb, Bm step outside the scale as colour chords.
Chord movement
- Gb Bbm DbIV → vi BbmVI → iVI → i ×4
The move to watch is Gb → Bbm, heard 4 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → 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 Fm, land on F, Ab, C — 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 Ab, land on Ab, C, 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 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
- 4 semitones up
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 Fm, Bbm, Ab, Gb; read them as iii–vi–V–IV in Db or v–i–VII–VI in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. Ending on Bb, 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.
Ufuk Çalışkan - Düğme 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: Ufuk ÇalışkanMusic: Ufuk ÇalışkanArrangement: Ufuk Çalışkan
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