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)
Timuçin Esen - İtirazım Var - Chord
Key Db major – Bb minor Chords A#m, D#m, F, F# Easy key C (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Db | A#m | Bbm
Capo: 0
A#m
İtirazım var bu zalim kadere
D#m F
İtirazım var bu sonsuz kedere
D#m
Feleğin sillesine, hayatın cilvesine
A#m F
Dertlerin cümlesine
A#m
İtirazım var
A#m
Yarım kalan sevgiye
F
Şu emanet gülmeye
Yaşamadan ölmeye
A#m
İtirazım var
A#m D#m A#m
Ben hep yenilmeye mahkum muyum
A#m D#m A#m
Ben hep ezilmeye mecbur muyum
D#m F
İtirazım var bu yalan dolana
D#m A#m F
Benim şu dertlere ne borcum var ki
A#m
Tuttu yakamı bırakmıyor
D#m F#
Benim mutlulukla ne zorum var ki
F F# F A#m
Bana cehennemi aratmıyor
A#m
İtirazım var değişmez yazıma
D#m F
İtirazım var bu dertli şansıma
D#m
Sevginin sahtesine, hayatın cilvesine
A#m F
Dertlerin böylesine
A#m
İtirazım var
A#m
Yalan dolu gözlere
F
Durulmamış sözlere
Dost olmayan yüzlere
A#m
İtirazım var
A#m D#m A#m
Ben hep yenilmeye mahkum muyum
A#m D#m A#m
Ben hep ezilmeye mecbur muyum
D#m F
İtirazım var bu yalan dolana
D#m A#m F
Benim şu dertlere ne borcum var ki
A#m
Tuttu yakamı bırakmıyor
D#m F#
Benim mutlulukla ne zorum var ki
F F# F A#m
Bana cehennemi aratmıyor
End of song Play again?
Timuçin Esen - İtirazım Var Tabs
NotesX
Harmony analysis
Timuçin Esen – İtirazım Var: key and chord analysis
The song opens on A#m and ends on A#m. 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 24 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# | 14× |
| 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 | 14× |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 4× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 24× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 24× |
| 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# | 14× |
| 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 | 14× |
| VI | F# | Submediant — warm colour | F# · A# · C# | 4× |
| 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 56 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 ×8
- D#m A#m Dbii → vi Bbmiv → iminor plagal ×8
- D#m F Dbii → V/vi Bbmiv → Viv → V ×4
The move to watch is F → A#m, heard 8 times. 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 A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over D#m, land on D#, F#, A# — 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on A#m, the song gives away its key from the very first bar. The chords that keep coming back are A#m, D#m, F, F#; read them as vi–ii–V/vi–IV in Db or i–iv–V–VI 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 F → A#m (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. Ending on A#m, the song seals Bbm 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.
Timuçin Esen - İtirazım Var 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.