Kalben - Doya Doya - Chord

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

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Capo 0

Db    Bbm    Ebm    Ab

Db                  Bbm
70 kilo derdim var anne bana simit al 
Ebm       
Neden burda değilsin 
Ab
Rahat bir yerde misin 
Db                 Bbm
70 kilo derdim var baba bana kavun al 
Ebm
Kavunu da hiç sevmem 
Ab
Sen bunu bilir misin 

Bbm
Dinlemiyor insanlar 
Ebm
Bence anlatamadım 
Ab
Derinimde yaram var 
Db
Bence saklayamadım 
F#                  Cm
Üleşiyor şeytanlar nehirleri içimde 
F  
Hoşt köpekler deyip de, kafayı dağıtamadım 

Bbm                   Db
Ah güvercinim, beyaz eşim, tek dişim 
F#                         F
Sevemiyormuş meğer katı kalbim, doya doya
Bbm                     Db
Ah seviştiğim, sevildiğim, yenildiğim 
F#                          F
Değemiyormuş meğer taş ellerim, doya doya

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Kalben - Doya Doya Tabs

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Harmony analysis

Kalben – Doya Doya: key and chord analysis

The song opens on Db and ends on F. 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: we can't honestly pick a side here — the song moves freely between Db major and Bb minor because it opens on Db and the major V chord points straight at Bbm. Try reading the chords both ways and see which feels more like home to you.

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	6×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	4×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	3×
IV	F#	Subdominant — moves away from home	F# · A# · C#	3×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	4×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
ii	Cm	Chromatic colour chordoutside the key	C · Eb · G	1×
III	Db	Relative major — the bright side	Db · F · Ab	6×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	4×
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	3×
VI	F#	Submediant — warm colour	F# · A# · C#	3×
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 27 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. Cm step outside the scale as colour chords.

Chord movement

Ebm Ab Dbii → Vii → V Bbmiv → VII ×4
Ab Db DbV → Iauthentic cadence BbmVII → III ×3
F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×2
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1

The move to watch is Ebm → Ab, heard 4 times. From the Db side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bbm side it is iv → VII. 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 Db, land on Db, F, Ab — 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 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.

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 Db; the ear learns where home is within a second. The chords that keep coming back are Db, Bbm, Ebm, Ab; read them as I–vi–ii–V in Db or III–i–iv–VII 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 Ebm → Ab (ii → V in Db, iv → VII in Bbm): ii → V — the classic preparation of the dominant. Ending on F, 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.