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 Gündeş - İyi ki Doğmuşum - Chord
Key Db major – Bb minor Chords Bbm, Gb, Fm, Ab, Ebm, Bb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm
Bu kadar da fazla senin taş kalbin
Ab Gb Bbm
Hiç bitmez ki asla benim sen derdim
Fm
Bir daha mı asla kalbimi deldin
Ab Gb Bb
Gözümde son yaşla aktın ve gittin
Bbm Fm
Aman ben vazgeçtim aşktan
Ebm Bbm
Her şeyi en baştan yazmaya geldim
Bbm
Bugün burada söz veriyorum
Ebm
Fark ettim senle çok yorulmuşum
Gb Bbm
Sansınlar aşktan geberiyorum
Gb Ab Bbm
Tam tersi kutla iyi ki doğmuşum
x2
Bbm Fm
Aman ben vazgeçtim aşktan
Ebm Bbm
Her şeyi en baştan yazmaya geldim
Bbm
Bugün burada söz veriyorum
Ebm
Fark ettim senle çok yorulmuşum
Gb Bbm
Sansınlar aşktan geberiyorum
Gb Ab Bbm
Tam tersi kutla iyi ki doğmuşum
x2
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Ebru Gündeş - İyi ki Doğmuşum Tabs
NotesX
Harmony analysis
Ebru Gündeş – İyi ki Doğmuşum: 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 | 4× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 4× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 6× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 4× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 12× |
| V/ii | Bb | Secondary dominant V/ii — leads to Ebmsecondary dominant | Bb · D · F | 1× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 12× |
| V/iv | Bb | Secondary dominant V/iv — leads to Ebmsecondary dominant | Bb · D · F | 1× |
| 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 | 4× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 4× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 6× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 4× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 31 times in total; 5 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Gb Bbm DbIV → vi BbmVI → iVI → i ×3
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
The move to watch is Gb → Bbm, heard 3 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → 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 Bbm, land on Bb, Db, F — 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.
- Over Fm, land on F, Ab, C — 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 first chord is Bbm; the ear learns where home is within a second. Bbm, Gb, Fm, Ab carry the song: vi–IV–iii–V relative to Db, i–VI–v–VII relative to Bbm. Bb adds a moment of surprise: secondary dominant V/ii — leads to Ebm. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. It closes on Bbm, letting the Bbm 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.
Ebru Gündeş - İyi ki Doğmuşum 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: Sinan AkçılMusic: Sinan AkçılArrangement: Sinan Akçıl, Enes Yolcu
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