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)
Serdar Ortaç - Şeytan - Chord
Key Db major – Bb minor Chords Bbm, Gb, Ab, Fm, Ebm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Gb Ab Fm Bbm Gb Ab Bbm
Bbm
Nasip olsun en güzel aşktan bize
Gb Ebm Fm
Adımız birer hastaya çıktı mı yüze bakan yok
Bbm
Sanıyorlar diz çöker aşk önümüze
Gb Ebm Bbm
Bu zamanlar fazla gezenlere vize veren yok
Ab Gb
Hayat beni neden yoruyorsun?
Fm Bbm
Madem çok günah oyunu sen bozuyorsun
Sebebi çok
Bbm Gb
Şeytan diyor ki, yanaş şuna
Ab Fm
Adını anma sataş şuna
Bbm Gb
Deli kader, seni karşıma
Ab Bbm
Çıkaracak mı, bilen yok
Bbm Gb
Can üzülür buna, taş değil
Ab Fm
Çekilecek gibi aşk degil
Bbm Gb
Bu gönül her şeye aç değil
Ab Bbm
Doyuracak mı, bilen yok
End of song Play again?
Serdar Ortaç - Şeytan Tabs
NotesX
Harmony analysis
Serdar Ortaç – Şeytan: key and chord analysis
The song opens on Bbm 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 13 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 | 2× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 5× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 9× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 7× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 13× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 13× |
| 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 | 2× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 5× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 9× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 7× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 36 times in total; 5 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
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×6
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×5
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×3
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1
The move to watch is Gb → Ab, heard 6 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). 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 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.
- 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Bbm lays a solid floor for everything that follows. Bbm, Gb, Ab, Fm carry the song: vi–IV–V–iii relative to Db, i–VI–VII–v relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. 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.
Serdar Ortaç - Şeytan 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: Serdar OrtaçMusic: Serdar Ortaç
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