Bilal Sonses - Öpesim Var - Chord

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

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Capo 0

 
Ab       Gb        Ab
Benim başka kimim var
      Bbm                Ab
Bir canım var o da senin yar
           Gb        Ab
Senin dolmuyor yerin bak
      Gb               Ab
Gel demez utanır dilim bak

Bbm                       Fm
Beni bir sen anlarsın, ölsem bir sen ağlarsın
    Gb                  Ab
Görsen şu halimi gitmezdin kalırdın
Bbm                              Fm     Bb
Delirdim her şey anlamsız, ne desem inanmazsın
      Gb                        Ab       Gb    Fm
Ne de sen o gül kokan melektin, en güzel yanımdın

       Bbm                      Fm
Öpesim var gözlerinden, nefesim dar özleminden
Gb                        Ab   Gb     Fm
İnan yalan değil ben yolunu gözlerim hep
        Bbm                     Fm
Göresim var özledim be, ölesim var gözlerinde
    Gb                      Ab  Gb     Fm
Bir anda dar gelir bütün dünya  özleminden

End of song Play again?

Bilal Sonses - Öpesim Var Tabs

NotesX

Harmony analysis

Bilal Sonses – Öpesim Var: key and chord analysis

The song opens on Ab and ends on Fm. 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 Bb minor side because Bbm is heard 5 times while Db never appears. 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	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	7×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	10×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	9×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	5×
VI	Bb	Chromatic colour chordoutside the key	Bb · 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	5×
I	Bb	Chromatic colour chordoutside the key	Bb · D · F	1×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
v	Fm	Minor dominant — soft pull	F · Ab · C	7×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	10×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	9×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 32 times in total; 4 of them sit naturally inside the shared scale. Bb step outside the scale as colour chords.

Chord movement

Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×7
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×3
Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2

The move to watch is Gb → Ab, heard 7 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). 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 Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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.

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 Ab, the song gives away its key from the very first bar. The chords that keep coming back are Gb, Ab, Fm, Bbm; read them as IV–V–iii–vi in Db or VI–VII–v–i in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. Ending on Fm, 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.