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)
Dedublüman - Sen Bilmezsin - Chord
Key Db major – Bb minor Chords Bbm, Ab, Gb, Fm, Ebm, Abm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ab Gb Ab
Bbm Ab
Zamansız bu tükenişlerimin
Fm Gb
Senden çok şey götürüşleridir
Bbm Ab Fm
Benim derdim, belki kaderimdendir, gülüşündendir
Gb
Varda bir yok, yokta biri var.
Bbm
Feryadım bazen bir şarkı
Ab
Bazen de göğsümde sancı
Gb
Anlatmam zaten duymazlar
Ab Bbm
Öp dilimde kan tadı var
Bbm Ab Gb Ab
Bbm Ab
Umrumda değil bu yağmurlar
Fm Gb
Ben çoktan sönmüş, donmuş bir mezar
Bbm Ab Fm
Sen bilmezsin, sen bilmezsin, sen bilmezsin
Gb
Haydan geldim, huya giderim
Abm Ebm Bbm
aaahhh
Ebm Fm Ebm Bbm
Sen aşk rüyası görürsün ben kemik
Bbm
Feryadım bazen bir şarkı
Ab
Bazen de göğsümde sancı
Gb
Anlatmam zaten duymazlar
Ab Bbm
Öp dilimde kan tadı var
End of song Play again?
Dedublüman - Sen Bilmezsin Tabs
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Harmony analysis
Dedublüman – Sen Bilmezsin: 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 12 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 | 3× |
| 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 | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 12× |
| v | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 1× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 12× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 12× |
| 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 | 3× |
| 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 | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 12× |
| vii | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 1× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 41 times in total; 5 of them sit naturally inside the shared scale. Abm step outside the scale as colour chords.
Chord movement
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×4
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4
- Gb Bbm DbIV → vi BbmVI → iVI → i ×3
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
The move to watch is Ab → Bbm, heard 4 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). 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 Ab, land on Ab, C, Eb — 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.
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. The backbone is Bbm, Ab, Gb, Fm — vi–V–IV–iii from the Db side, i–VII–VI–v from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. The final chord is Bbm; the ear comes to rest in Bbm.
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.
Dedublüman - Sen Bilmezsin 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: Mustafa YavuzMusic: Mustafa YavuzArrangement: Mustafa Yavuz / Kurthan Sarpkaya
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