Model - İyi Bir Sevgili - Chord

Key Db major – Bb minor Chords Ebm, Bbm, Db, Ab, F7, Gb, F Easy key C (capo 1)

Add to Repertoire

5,0 (1 votes)

or your user informations

Capo 0

Ebm  Bbm  Db  Ab
x2

Bbm
Bensem gözündeki hüzün
           F7
Acıma hiç, vur yüzüme, vur yüzüme

Ebm
Buymuş elimden gelen
             Gb          F7
Gücenmem hiç son sözüne, son sözüne

Bbm
İnan bana, hep iyi bir sevgili
               F7
Olmak istedim, olmadı, olmadı

  Ebm
Savaştım hep şeytanlarımla
          Gb       F7
Ama gücüm kalmadı, kalmadı

Ebm             Bbm
Hadi ben olayım suçlu yine
Db                Ab
Yeter ki dön, bir gül yüzüme
Ebm          Bbm
Uyuyakalalım ağlarken
Db                 Ab
Belki de sabah farklı olur diye

Ebm             Bbm
Hadi ben olayım suçlu yine
Db                Ab
Yeter ki dön, bir bak yüzüme
Ebm          Bbm
Uyuyakalalım ağlarken
    Db                Ab
Her şey yolundaymış gibi sarıl yine

Ebm  Bbm  Db  Ab
x2

Bbm
Ben küsmeyi bilmem, denedim
F
Olmadı, olmadı

  Ebm
Zaten babamı da hep, affederdim
Gb       F
Bilmedi, bilmedi

Bbm
İnan bana, hep iyi bir sevgili
               F7
Olmak istedim, olmadı, olmadı

  Ebm
Savaştım hep şeytanlarımla
          Gb       F7
Ama gücüm kalmadı, kalmadı

Ebm             Bbm
Hadi ben olayım suçlu yine
Db                Ab
Yeter ki dön, bir gül yüzüme
Ebm          Bbm
Uyuyakalalım ağlarken
Db                 Ab
Belki de sabah farklı olur diye

Ebm             Bbm
Hadi ben olayım suçlu yine
Db                Ab
Yeter ki dön, bir bak yüzüme
Ebm          Bbm
Uyuyakalalım ağlarken
    Db                Ab
Her şey yolundaymış gibi sarıl yine

End of song Play again?

Model - İyi Bir Sevgili Tabs

NotesX

Harmony analysis

Model – İyi Bir Sevgili: key and chord analysis

The song opens on Ebm and ends on Ab. 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)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 14 times against 10 for Db and the major V chord points straight at Bbm. 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	10×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	14×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V7/vi	F7	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C · Eb	6×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	2×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	4×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	10×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	14×
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	14×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	10×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	14×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V7	F7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C · Eb	6×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	2×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	4×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	10×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 60 times in total; 5 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 / F is V7/vi, a secondary dominant heading for Bbm.

Chord movement

Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×10
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×1
F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×1

The move to watch is Ebm → Bbm, heard 10 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → 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 Ebm, land on Eb, Gb, Bb — 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
When F7 comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

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 opening Ebm lays a solid floor for everything that follows. The chords that keep coming back are Ebm, Bbm, Db, Ab; read them as ii–vi–I–V in Db or iv–i–III–VII in Bbm. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Ebm → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. The final chord is Ab; 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.