Model - Zaten Ağzım Bozuk - Chord

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

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Capo 0

Nakarat
    Bbm           Ebm
İçmişim, kalbim yine kırık
        Db
Zaten ağzım bozuk
         F
Ah ellemeyin yazık

     Bbm           Ebm
Düşmüşüm, sırtım dolu kazık
       Db       
Bari beni bırakın da
Ab             Gb     F
Şarkımı söyleyeyim azıcık

Bbm  Bbm  Ebm  Db  Bbm  Bbm

Kıta 1
Bbm
Geceleri bi başıma evime dönerken
Ebm           F
Çaktırmadan ağlardım
Bbm 
İnan bana benim de planım
        Gb         F
Bu yaşımda mutlu olmaktı
Bbm
Canımı yakanı yakarım diye diye
    Ebm            F
Bak yapayalnız kalakaldım
Bbm
O zamanlar anlamadım çoğu zaman
       Gb             F
Tek yapmam gereken susmak

Kıta 2
          Bbm
Yine de kızarlardı
         Ebm
Neşemi bozarlardı
        Db
Adımı yazarlardı
    Gb      F
İyi de bunlara ne gerek vardı?

Nakarat
    Bbm           Ebm
İçmişim, kalbim yine kırık
        Db
Zaten ağzım bozuk
         F
Ah ellemeyin yazık

     Bbm           Ebm
Düşmüşüm, sırtım dolu kazık
       Db       
Bari beni bırakın da
Ab             Gb     F
Şarkımı söyleyeyim azıcık

Bbm  Bbm  Ebm  Db  F

Am  Am  E  Am
x2

Kapanış
Am
Yürüdüm de yol azalmadı ki
             E
Azalmadı ki azalmadı ki
Am
Yürüyecek halim kalmadı ki
           E
Kalmadı ki kalmadı ki

Am
Yürüdüm de yol azalmadı ki
                        E
Azalmadı ki azalmadı ki
Am
Yürüyecek halim kalmadı ki
                   E
Kalmadı ki kalmadı ki

End of song Play again?

Model - Zaten Ağzım Bozuk Tabs

NotesX

Harmony analysis

Model – Zaten Ağzım Bozuk: key and chord analysis

The song opens on Bbm and ends on E. 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 it opens on Bbm, Bbm is heard 15 times against 7 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	7×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	9×
bIII	E	Borrowed from the parallel minorborrowed chord	E · G# · B	5×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	10×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	5×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	2×
bvi	Am	Chromatic colour chordoutside the key	A · C · E	7×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	15×
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	15×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	7×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	9×
#IV	E	Chromatic colour chordoutside the key	E · G# · B	5×
v	Fm	Minor dominant — soft pull	F · Ab · C	—
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	10×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	5×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	2×
#vii	Am	Chromatic colour chordoutside the key	A · C · E	7×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 8 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 F is V/vi, a secondary dominant heading for Bbm. E is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×9
Ebm F Dbii → V/vi Bbmiv → Viv → V ×2

The move to watch is F → Bbm, heard 9 times. From the Bbm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V/vi → 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 F, land on F, A, C — 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.
When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
On E, follow the chord's notes (E · G# · B) rather than the key's scale — it's a borrowed colour.

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. The chords that keep coming back are Bbm, F, Ebm, Db; read them as vi–V/vi–ii–I in Db or i–V–iv–III in Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bbm (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. The final chord is E; the ear comes to rest in Db. The lyric sheet marks 2 section types, so the same chord pattern returns in a clear, predictable order.

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.