Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Ziynet Sali - Duy İstanbul - Chord
Key Bb major – G minor Chords Dm7, Cm7, Eb, Gm, F, Cm, Bb, A7 … Easy key C
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Key: Bb | Gm
Capo: 0
Dm7 Dm7 Cm7 Cm7
Dm7 Cm7
Ne kadar oldu unuttun mu?
Eb Cm7 Dm7
Yollarına döküldüm sabah sabah
Eb
Bir rahat uyku uyuttun mu?
Cm7 Dm7
Huzursuzum geceden öyle yorgun
Dm7 Cm7
Böyle olmaz gel bişeyler yap
Dm7
Çok değiştin aynaya bak
Gm
Tamamdık her solukta
F
Tamamdık yolculukta
Eb Cm7 Dm7
O eski günler yüzyıl uzak
Dm7 Cm7
Duy İstanbul
Dm7
Gönlüme bu yaka dar
Cm Dm7
Helalinden bende buraya kadar
Cm7
Yakarım yemin ederim
Gm
Tek sözüne bakar
Eb
Kederi ömre bedel
Cm7 Dm7
Öderim ölene kadar
Gm Cm7
Hainsin ele verdin ay beni
F Bb
A benim şans yıldızım say beni
Eb Dm7
Sırılsıklam çaresizim sar beni
A7 Dm
Gam yemem akıntıya sal beni
End of song Play again?
Ziynet Sali - Duy İstanbul Tabs
NotesX
Harmony analysis
Ziynet Sali – Duy İstanbul: key and chord analysis
The song opens on Dm7 and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because Gm is heard 3 times against 1 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 1× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 11× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 1× |
| iii7 | Dm7 | Mediant — a tonic-family shade | D · F · A · C | 13× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 1× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 5× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 3× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| V7/iii | A7 | Secondary dominant V/iii — leads to Dmsecondary dominant | A · C# · E · G | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 3× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| V7/v | A7 | Secondary dominant V/v — leads to Dmsecondary dominant | A · C# · E · G | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 11× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 1× |
| v7 | Dm7 | Minor dominant — soft pull | D · F · A · C | 13× |
| v | Dm | Minor dominant — soft pull | D · F · A | 1× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 5× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 9 different chords appear 38 times in total; 8 of them sit naturally inside the shared scale. A7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Dm7 Gm Bbiii7 → vi Gmv7 → inatural-minor cadence ×2
- F Bb BbV → Iauthentic cadence GmVII → III ×1
- Cm7 Gm Bbii7 → vi Gmiv7 → iminor plagal ×1
- Cm7 F Bbii7 → Vii → V Gmiv7 → VII ×1
- A7 Dm BbV7/iii → iiisecondary resolution GmV7/v → v ×1
The move to watch is Dm7 → Gm, heard 2 times. From the Gm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii7 → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Dm7 lays a solid floor for everything that follows. The chords that keep coming back are Dm7, Cm7, Eb, Gm; read them as iii7–ii7–IV–vi in Bb or v7–iv7–VI–i in Gm. A7 adds a moment of surprise: secondary dominant V/iii — leads to Dm. Keep an ear on Dm7 → Gm (iii7 → vi in Bb, v7 → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm, letting the Bb 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.
Ziynet Sali - Duy İstanbul 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: Umut Yaşar Sarıkaya / Universal Music Publishing TürkiyeMusic: Umut Yaşar Sarıkaya / Universal Music Publishing TürkiyeArrangement: Ozan Doğulu
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