Teoman - İstasyon İnsanları - Chord

Key Db major – Bb minor Chords Db, Ebm, Ab7, Gb, Bbm, Fm Easy key G (capo 6)

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Capo 0

Db
Ruhidir benim adım hiç çıkamam evimden
        Ebm              Ab7               Db
Dostlar uydururum hayali mutluyumdur bu yüzden

Bir çiçek dürbününden insanlara bakarken
       Ebm                 Ab7          Db
Birgün bir istasyon gördüm trenleri geciken

Yolcular ellerinde tek gidişlik bir bilet
       Ebm                Ab7      Db
Henüz bilmeselerde hayat bundan ibaret

Db            Bbm  Gb             Fm
İstasyon insanları burdalar tesadüfen
Gb            Ebm  Ab7            Db
Aynı rüyayı görüp  ayrı yerlere giden 

Db
Eskiden çok eskiden ben daha çok küçükken
      Ebm             Ab7         Db
Henüz cennet plajı otopark olmamışken

Mercanların arasında küçük balıklar vardı
     Ebm                 Ab7            Db
En güzelleri el boyunda kavuniçi olanlardı

Db
Bir gün bir rüya gördüm o kavuniçi balık benmişim
    Ebm             Ab7           Db
Büyümem beklenmeden afiyetle yenmişim

Db            Bbm  Gb             Fm
İstasyon insanları burdalar tesadüfen
Gb            Ebm  Ab7            Db
Aynı rüyayı görüp  ayrı yerlere giden

End of song Play again?

Teoman - İstasyon İnsanları Tabs

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Harmony analysis

Teoman – İstasyon İnsanları: key and chord analysis

The song opens on Db and ends on Db. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Db major side because it both starts and finishes on Db and Db is heard 13 times against 2 for Bbm. That is an interpretation, not a rule — hearing the same chords from Bb minor is just as valid and teaches you something different.

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	13×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	8×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	2×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	4×
V7	Ab7	Dominant — strongest pull home	Ab · C · Eb · Gb	8×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	2×
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	2×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	13×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	8×
v	Fm	Minor dominant — soft pull	F · Ab · C	2×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	4×
VII7	Ab7	Subtonic — steps back to the tonic	Ab · C · Eb · Gb	8×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 37 times in total; 6 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Ab7 Db DbV7 → Iauthentic cadence BbmVII7 → III ×8
Ebm Ab7 Dbii → V7ii → V Bbmiv → VII7 ×8

The move to watch is Ab7 → Db, heard 8 times. From the Db side it reads V7 → I (authentic cadence: the strongest arrival home); from the Bbm side it is VII7 → III. 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Ab7, land on Ab, C, Eb — 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

Starting on Db, the song gives away its key from the very first bar. Db, Ebm, Ab7, Gb carry the song: I–ii–V7–IV relative to Db, III–iv–VII7–VI relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab7 → Db (V7 → I in Db, VII7 → III in Bbm): authentic cadence — the strongest arrival home. Ending on Db, 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.