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)
Key Db major – Bb minor Chords Gbmaj7, Bbm, Ab, Fm, Ebm, Db, Bb7 Easy key C (capo 1)
Bbm
Dertsiz başımı derde soktum
Gbmaj7 Fm Ab
Alacağın olsun madem
Gbmaj7
İki yakam bir araya gelmedi
Fm Bbm
Boğazım düğümlendi bak sayende
Bbm Fm Bbm
Zaten buraları sen diye sevdim naber?
Fm Bbm Ebm
Gittin gideli gelmedi senden bi’ haber
Ab Gbmaj7
Sordum ona buna bıraktım oluruna
Fm Gbmaj7 Ab
Bi’ fayda etmedi ne sana ne bana
Bbm Gbmaj7 Ab
Aaaaaaaaaaahhhhhhh
Bbm
Bi’ sen etmez koca İstanbul
Db Bb7
Yansın sönsün ne fark eder?
Ebm Gbmaj7
İçimde senden eser yokken
Ab Gbmaj7
Günler gecelerden de beter
Bbm Bbm Ab Gbmaj7
Bi’ sen etmez koca İs tan bul
Db Ab Bbm
Yaaansın sönsün ne fark eder?
Ebm Gbmaj7
Geceme düşen ışığın yokken
Ab Gbmaj7 Fm
Yansın anılar birer birer
Ab Gbmaj7 Fm
Yansın anılar birer birer
End of song Play again?
Harmony 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.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 10 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.
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 | 3× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 7× |
| 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 | 11× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 9× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 10× |
| V7/ii | Bb7 | Secondary dominant V/ii — leads to Ebmsecondary dominant | Bb · D · F · Ab | 1× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 10× |
| V7/iv | Bb7 | Secondary dominant V/iv — leads to Ebmsecondary dominant | Bb · D · F · Ab | 1× |
| 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 | 3× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 7× |
| 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 | 11× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 9× |
The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 43 times in total; 6 of them sit naturally inside the shared scale. Bb7 acts as a secondary dominant, briefly pointing at another chord of the key.
The move to watch is Gbmaj7 → Ab, heard 4 times. From the Bbm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Bbm lays a solid floor for everything that follows. The backbone is Gbmaj7, Bbm, Ab, Fm — IVmaj7–vi–V–iii from the Db side, VImaj7–i–VII–v from the Bbm side. Bb7 adds a moment of surprise: secondary dominant V/ii — leads to Ebm. Keep an ear on Gbmaj7 → Ab (IVmaj7 → V in Db, VImaj7 → VII in Bbm): VI → VII — the rising step that heads for the tonic. 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.
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.
Ready-made lists by difficulty and mood.
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