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)
Gökçe Kırgız - Haketmedin - Chord
Key Db major – Bb minor Chords Bbm, Db, B, Abm, Ebm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Abm
Belki umrunda değil hemen unuttun
Bbm Abm
Belki çok acı verdi sende duruldun
Ebm Bbm
Belki pişman olursun sende yalnız kalırsın
B Abm
Özlemi durduramazsın olurya
Bbm B
Belki nefretin büyür varsa olan sevgi ölür
Abm Db B Bbm
Ne farkeder şimdiden sonra
Db Bbm Db Bbm
Sanma geri dönerim bidaha seni severim
Db Ebm Db B Bbm
Ne istedinde vermedim değerini bilmedin
Db Bbm Db Bbm
Artık bende istemiyorum git demiştinya gidiyorum
Db Ebm Db B Bbm
Sanma uğrunda ölüyorum hiç birini haketmedin
Db B Bbm
Sen bu sevgiyi haketmedin
End of song Play again?
Gökçe Kırgız - Haketmedin Tabs
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Harmony analysis
Gökçe Kırgız – Haketmedin: 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)
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 and Bbm is heard 12 times against 10 for Db. 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 | 10× |
| 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 | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| v | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 4× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 12× |
| bVII | B | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | B · D# · F# | 6× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 12× |
| bII | B | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | B · D# · F# | 6× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 10× |
| 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 | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
| vii | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 4× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 35 times in total; 3 of them sit naturally inside the shared scale. B is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1
The move to watch is Ebm → Bbm, heard once. 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over B, land on B, D#, F# — the chord's own tones always sound right on strong beats.
- 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is Bbm; the ear learns where home is within a second. The backbone is Bbm, Db, B, Abm — vi–I–bVII–v from the Db side, i–III–bII–vii from the Bbm side. B briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Ebm → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. 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.
Gökçe Kırgız - Haketmedin 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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