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)
Aşkın Nur Yengi - Kara Çiçeğim - Chord
Key Db major – Bb minor Chords Bbm, Ebm, Fm, Cm, F Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm Ebm
Her dokunuş bir ateş ellerimde
Bbm Fm Ebm
Aşk acının soluğu yüreğimde
Fm Bbm
Sen başka şeyler söyle
Cm F Bbm
Düşlerim bana kalsın
Ebm Bbm
Ah gitti giden yazık
Cm F Bbm
Ardında iz bırakıp
Bbm
Kara çiceğim, yaşamadığım çırıl çıplak duygularım
Ebm Bbm
Kara çiçeğim, yok olup giden sevda baharlarım
Kara çiçeğim
Ebm Bbm
Ah gitti giden yazık
Cm F Bbm
Ardında iz bırakıp
Kara çiceğim
Bbm Fm Ebm
Gün yüzüme değmedi gecelerce
Bbm Fm Ebm
Yol vaktidir düşerim hüzünlere
End of song Play again?
Aşkın Nur Yengi - Kara Çiçeğim Tabs
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Harmony analysis
Aşkın Nur Yengi – Kara Çiçeğim: key and chord analysis
The song opens on Bbm and ends on Ebm. 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 opens on Bbm, Bbm is heard 12 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 | 7× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 5× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | 3× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 12× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| vii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 3× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 12× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| ii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 3× |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 7× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 5× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | 3× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| 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). 5 different chords appear 30 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. Cm step outside the scale as colour chords.
Chord movement
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×5
- F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×3
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×1
The move to watch is Ebm → Bbm, heard 5 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → 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 Ebm, land on Eb, Gb, Bb — 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.
- 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
The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Ebm, Fm, Cm; read them as vi–ii–iii–vii in Db or i–iv–v–ii 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 → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. The final chord is Ebm; the ear comes to rest in Db.
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.
Aşkın Nur Yengi - Kara Çiçeğim 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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