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)
Nazan Öncel - Erkekler de Yanar - Chord
Key Db major – Bb minor Chords Bbm, Fm, F#, F Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm F# Fm
Bbm
Çok istedim aah
Vermediler aah
Bu ne inat aah
Zalim peder aah
Bbm
Allah'tan kork aah
Sopası yok aah
Güzele bakmak sevap
Ötesi yok aah
Bbm
Erkeklerde yanar
Hem de nasıl yanar
F
Yanmak çözüm değil
Bbm
Bizi nikah paklar
Bbm
Erkeklerde yanar
Hem de nasıl yanar
F
Yanmak çözüm değil
Bbm
Bizi yatak paklar
Bbm Fm
Ben de geldim aşka
F#
Benimki bir başka
Fm
Ne güzeller gördüm
Akşamdan sabaha
Bbm Fm F# Fm
Bbm
Kız kurusu aah
Oldum vallah aah
Boş gezene aah
Kız vermezler aah
Bbm
Napcaz şimdi aah
Yatcaz şimdi aah
Gidip de banka soyacak
Değiliz ya aah
End of song Play again?
Nazan Öncel - Erkekler de Yanar Tabs
NotesX
Harmony analysis
Nazan Öncel – Erkekler de Yanar: key and chord analysis
The song opens on Bbm and ends on Bbm. 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 it both starts and finishes on Bbm, Bbm is heard 11 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 | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 6× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | 2× |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 3× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 11× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 11× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 6× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | 2× |
| VI | F# | Submediant — warm colour | F# · A# · C# | 3× |
| 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
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×3
- F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×2
The move to watch is Fm → Bbm, heard 3 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → 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 Fm, land on F, Ab, 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.
- 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
- 4 semitones up
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. Bbm, Fm, F#, F carry the song: vi–iii–IV–V/vi relative to Db, i–v–VI–V 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 Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Bbm; the ear comes to rest in Bbm.
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.
Nazan Öncel - Erkekler de Yanar 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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