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)
Ebru Yaşar - Ben Ne Yangınlar Gördüm - Chord
Key Db major – Bb minor Chords Fm, Bbm, Ebm, Gbmaj7, Db Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm Bbm Fm Bbm Fm Ebm Fm
x2
Bbm Fm Gbmaj7 Fm Bbm Fm Ebm Fm
x2 (Gbmaj versiyon)
Bbm Fm Bbm Fm
Sen bana bakma, ilk değil bu
Ebm Db Gbmaj7 Fm
Gidenin kazandığı, hileli bir oyun bu
Bbm Fm Bbm Fm
Sen bana bakma, belki de en doğrusu bu
Ebm Db Gbmaj7 Fm
Ben sonbaharım, döktüğüm son yaprak bu
Bbm Fm
Ben ne yangınlar gördüm, öylece bırak beni
Bbm Fm
Sen ateşten korkarsın, kaç kurtar kendini
Bbm Fm
Ben ne yaralar aldım, hiç biri öldürmedi
Ebm Fm
Sen de git, unut beni
(Nakarat Gbmaj versiyon)
Bbm Fm
Ben ne yangınlar gördüm, öylece bırak beni
Gbmaj Fm
Sen ateşten korkarsın, kaç kurtar kendini
Bbm Fm
Ben ne yaralar aldım, hiç biri öldürmedi
Ebm Fm
Sen de git, unut beni
Bbm Fm Bbm Fm Bbm Fm Ebm Fm
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Ebru Yaşar - Ben Ne Yangınlar Gördüm Tabs
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Harmony analysis
Ebru Yaşar – Ben Ne Yangınlar Gördüm: key and chord analysis
The song opens on Bbm 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 it opens on Bbm and Bbm is heard 17 times against 2 for Db. 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 | 2× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 7× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 25× |
| 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 | 3× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 17× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 17× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 2× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 7× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 25× |
| 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 | 3× |
| 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). 5 different chords appear 54 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
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×16
The move to watch is Fm → Bbm, heard 16 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 Bbm, land on Bb, Db, F — 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 Bbm; the ear learns where home is within a second. Fm, Bbm, Ebm, Gbmaj7 carry the song: iii–vi–ii–IVmaj7 relative to Db, v–i–iv–VImaj7 relative to Bbm. 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. 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.
Ebru Yaşar - Ben Ne Yangınlar Gördüm 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: Cem SenyücelMusic: Yusuf DemirkolArrangement: Mustafa Ceceli
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