Model - Antidepresan Gülümsemesi - Chord

Key Db major – Bb minor Chords Bbm, G#, F, F#, Ebm, C#, B Easy key C (capo 1)

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Capo 0

Bbm          G#     Bbm            G#       Bbm    G#
Ah ne tatlı sözler hazırladım kim bilir kaç aydır
Bbm     G#        Bbm          G#      Bbm   G#
Kimse seni dinlemiyorken, konuşmak kolaydır

F#                F               Bbm
Kafamda durmadan bağırıp çağıran bir yabancının sesi
F#                F              Bbm
Yüzümde kocaman yalandan bir antidepresan gülümsemesi

Bbm                   Ebm
Böyle gitme ne olur, böyle gitme ne olur
C#                     G#
Biraz yanımda otur diyemedim
Bbm                 Ebm
Başımı yaslasaydım omzuna, ağlasaydım
C#                    G#
Öpüp koklasaydım, yapamadım
                       Bbm
Yapmadım, utandım

Bbm       G#             Bbm             G#              Bbm    G#
Sen bana bakma, parçalı bulutluyum, sen mutluysan ben mutluyum
Bbm        G#          Bbm       G#          Bbm  G#
Eski iyi bir dostum yalnızca, bu gece nasıl olsa

Ebm               G#       C#          F#
Her canın yandığında, ara derdim yine beni, 
         B          F               Bbm         F
Yapabilseydim gözyaşlarını, yine silerdim, diyemedim

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Model - Antidepresan Gülümsemesi Tabs

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Harmony analysis

Model – Antidepresan Gülümsemesi: key and chord analysis

The song opens on Bbm and ends on F. 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)
#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 18 times against 3 for Db 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	C#	Tonic — home	C# · E# · G#	3×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	3×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	—
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	4×
IV	F#	Subdominant — moves away from home	F# · A# · C#	3×
V	G#	Dominant — strongest pull home	G# · B# · D#	15×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	18×
bVII	B	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	B · D# · F#	1×
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	18×
bII	B	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	B · D# · F#	1×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	C#	Relative major — the bright side	C# · E# · G#	3×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	3×
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	4×
VI	F#	Submediant — warm colour	F# · A# · C#	3×
VII	G#	Subtonic — steps back to the tonic	G# · B# · D#	15×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 47 times in total; 5 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. B is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

G# Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×12
F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×3
G# C# DbV → Iauthentic cadence BbmVII → III ×1
Ebm G# Dbii → Vii → V Bbmiv → VII ×1

The move to watch is G# → Bbm, heard 12 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). 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 G#, land on G#, B#, D# — 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.
On B, follow the chord's notes (B · D# · F#) rather than the key's scale — it's a borrowed colour.

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 opening Bbm lays a solid floor for everything that follows. The backbone is Bbm, G#, F, F# — vi–V–V/vi–IV from the Db side, i–VII–V–VI from the Bbm side. 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 G# → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. The final chord is F; 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.