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)
Nil Karaibrahimgil - Akbaba - Chord
Key Db major – Bb minor Chords F, F#, A#m, D#m Easy key C (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Db | A#m | Bbm
Capo: 0
F
Rakı olmasın, şarap olmasın
F# F
Madem sen yoksun kafam olmasın
F
Gündüz olmasın gece olmasın
F# F
Madem sen yoksun günler akmasın
A#m
Sensiz nasılım bak bana
F
Gel de bir çorba yap bana
F# D#m F
Madem öldürdün akbaba olmasın
F
Rakı olmasın, şarap olmasın
F# F
Madem sen yoksun kafam olmasın
F
Gündüz olmasın gece olmasın
F# F
Madem sen yoksun günler akmasın
F F#
Akbaba olmasın akraba olmasın
A#m F# F
Eğer sen yoksan, kimsem olmasın
End of song Play again?
Nil Karaibrahimgil - Akbaba Tabs
NotesX
Harmony analysis
Nil Karaibrahimgil – Akbaba: key and chord analysis
The song opens on F and ends on F. 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)
- #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 2 times while Db never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | D#m | Supertonic — prepares the dominant | D# · F# · A# | 1× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to A#msecondary dominant | F · A · C | 12× |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 7× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 2× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 2× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | D#m | Subdominant — moves away from home | D# · F# · A# | 1× |
| 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 | 12× |
| VI | F# | Submediant — warm colour | F# · A# · C# | 7× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 22 times in total; 3 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.
Chord movement
- F A#m DbV/vi → vi BbmV → iharmonic-minor cadence ×1
- D#m F Dbii → V/vi Bbmiv → Viv → V ×1
- F# A#m DbIV → vi BbmVI → iVI → i ×1
The move to watch is F → A#m, heard once. 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 F, land on F, A, C — 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 A#m, land on A#, C#, E# — 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 F; the ear learns where home is within a second. F, F#, A#m, D#m carry the song: V/vi–IV–vi–ii relative to Db, V–VI–i–iv relative to 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 → A#m (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. 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.
Nil Karaibrahimgil - Akbaba 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Nil KaraibrahimgilMusic: Nil Karaibrahimgil
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.