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)
Simge - Çapkınca (Ozan Bayraşa) - Chord
Key Db major – Bb minor Chords Fm, Gbmaj7, Ebm, Bbm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Gbmaj7 Fm Bbm Fm Ebm
En doğru anda, yanı başımda beliriverdin çapkınca
Bbm Fm
Yoksa kader seni mi bana, e kabul o zaman
Gbmaj7 Fm
Bildiğin akışma dokunduğunda
Ebm
Düşüme sızdın arsızca
Fm
Hisler kıyak, aşk yolunda
Gbmaj7 Fm
Koy ver gitsin, korkma kalbim
Ebm
Buldum bu defa, gitmem bi daha
Sanmam ki sen de beni küstürme sana
Gbmaj7
Gel düşünme binelim arabaya
Fm
Delirip delirip gidelim oraya
Ebm
Sevişe sevişe, hadi bi daha de
Fm
Varalım sahildeki yerimize
Gbmaj7
Hadi Gel düşünme binelim arabaya
Fm
Delirip delirip gidelim oraya
Ebm
Sevişe sevişe, hadi bi daha de
Fm
Varılır sahildeki yerimize
Gbmaj7 Fm
En doğru anda, yanı başımda beliriverdin çapkınca
Ebm Fm
Yoksa kader seni mi bana, e kabul o zaman
End of song Play again?
Simge - Çapkınca (Ozan Bayraşa) Tabs
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Harmony analysis
Simge – Çapkınca (Ozan Bayraşa): key and chord analysis
The song opens on Gbmaj7 and ends on Fm. 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 2 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 | 6× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 12× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IVmaj7 | Gbmaj7 | Subdominant — moves away from home | Gb · Bb · Db · F | 6× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 2× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 2× |
| 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 | 6× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 12× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 6× |
| 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 26 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 ×1
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×1
The move to watch is Ebm → Bbm, heard once. 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Gbmaj7, 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.
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
The first chord is Gbmaj7; the ear learns where home is within a second. The chords that keep coming back are Fm, Gbmaj7, Ebm, Bbm; read them as iii–IVmaj7–ii–vi in Db or v–VImaj7–iv–i 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. Ending on Fm, 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.
Simge - Çapkınca (Ozan Bayraşa) 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: OnurrMusic: OnurrArrangement: Ozan Bayraşa
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