Tuğkan - Özledim - Chord

Key Db major – Bb minor Chords Fm, Gbmaj7, Bbm, Gb, Ebm7, Ab Easy key C (capo 1)

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Capo 0

Fm        Gbmaj7          Fm
Yüzümde açmış kırgın çiçekler
                        Ebm7
Biliyorum bir gün onlar bile gidecekler
Fm              Gbmaj7
Etrafımda bir sürü pembe süvari
Fm               Ebm7
Bana yine adamlıktan bahsedecekler

    Fm     Gbmaj7   Fm     Gbmaj7
Yok mu çıkışım, yok mu kaçışım
Ab             Gbmaj7  Ab          Gbmaj7
 Bu sondur umarım,      çünkü bu gece

    Bbm        Fm
Yanına gelebilirim
    Bbm        Fm
Dizine yatabilirim
    Gb               Fm
Kokunu içime çekebilirim
  Gb               Fm
Seni deli gibi özledim

  Bbm            Fm
Beni istemesen bile
     Bbm                  Fm
Ne yazar utanç kalmadı bende
    Gb                      Fm
Gururum cehennemden bile yerde
   Gb                   Fm
Sensin tek deva bu derdime

Fm
Seni deli gibi özledim

End of song Play again?

Tuğkan - Özledim Tabs

NotesX

Harmony analysis

Tuğkan – Özledim: key and chord analysis

The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

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 4 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	2×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	15×
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×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	4×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	2×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	4×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	4×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv7	Ebm7	Subdominant — moves away from home	Eb · Gb · Bb · Db	2×
v	Fm	Minor dominant — soft pull	F · Ab · C	15×
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×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	4×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	2×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 33 times in total; 6 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

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×3
Gbmaj7 Ab DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×2
Gbmaj7 Bbm DbIVmaj7 → vi BbmVImaj7 → iVI → i ×1

The move to watch is Fm → Bbm, heard 3 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → 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 Bbm, land on Bb, Db, F — 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

Starting on Fm, the song gives away its key from the very first bar. The backbone is Fm, Gbmaj7, Bbm, Gb — iii–IVmaj7–vi–IV from the Db side, v–VImaj7–i–VI from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; the ear comes to rest in Db.

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.