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)
Hakan Altun - Bir Telefon - Chord
Key Db major – Bb minor Chords F#, Ebm, Fm, Ab, Bbm, Db, Bb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
F# Ebm
Telefonun başında çaresiz bekliyorum
Fm F# Fm
Bekliyorum ama çalmayacak biliyorum
Bbm Ebm
Yüreğim diyor ki boşuna bekleme
Fm Db Bb
Aramaz gururundan seni çok sevse de
Ebm Db
Her şeye sahip olabilirsin ama
F# Ab Bbm
Aşkımız servettir bilmelisin
Bbm
Hala beni seviyorsun
Ab
Bunu sen de biliyorsun
F# Ebm
Niye beni aramıyorsun
Ab
Ben seni bir anlık değil
F#
Bir ömür boyu ararım
Ab Ebm Fm
Gururum umrumda değil
End of song Play again?
Hakan Altun - Bir Telefon Tabs
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Harmony analysis
Hakan Altun – Bir Telefon: key and chord analysis
The song opens on F# 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 Bbm is heard 3 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 | 5× |
| 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 | F# | Subdominant — moves away from home | F# · A# · C# | 5× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 4× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 3× |
| 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 | 3× |
| 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 | 2× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 5× |
| 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 | F# | Submediant — warm colour | F# · A# · C# | 5× |
| 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). 7 different chords appear 24 times in total; 6 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- F# Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×1
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×1
The move to watch is F# → Ab, heard 2 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → 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.
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 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.
- 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 opening F# lays a solid floor for everything that follows. The backbone is F#, Ebm, Fm, Ab — IV–ii–iii–V from the Db side, VI–iv–v–VII from the Bbm side. Bb adds a moment of surprise: secondary dominant V/ii — leads to Ebm. Keep an ear on F# → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. 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.
Hakan Altun - Bir Telefon 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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