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)
Umut Timur - Vermedin (MRC) - Chord
Key Db major – Bb minor Chords Bbm, Gb, Ebm, Fm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Gb Ebm Fm Kalbimi alıp vermedin geri vermedin geri vermedin Bbm Gb Ebm Fm Kalbimi alıp gelmedin geri gelmedin geri gelmedin Bbm Gb Ebm Fm Kafamı kaldı bende saçmaladım yine seni görünce Ne akıl bıraktın ne de bir düşünce suç kimde? O gözler o kaşlar bal gibi dudaklar Yetişsin birisi kalbim duracak şimdi Doktor yazma reçete, benim ilacım sende Koşarım peşinden sonunu bilmesemde Yalvarsam fayda etmez deme sakın bana Aşıklar bu nazı hep çekmek mi zorunda Haydi bana gel haydi benim ol Oskar ödülü gelsin artık yoksa bitmez senin bu rol Kalbimi alıp vermedin geri vermedin geri vermedin Kalbimi alıp gelmedin geri gelmedin geri gelmedin Geri gelmedin Geri gelmedin Hadi gel hadi gel hadi gel Hadi gel bana gel bana gel Hadi gel hadi gel hadi gel Hadi gel bana gel bana gel On sais dit toi et moi jusqu'a la mort Et si tu me trahis c'est bye bye bye C'est jaloux voulais tous ma mort Degager c'est finis bye bye bye Y'a pas d'amour chez nous on veut mailler Vida lo vida lo vida loca Elle est belle, elle est folle je vais la mariée C'est ma loc c'est ma loc c'est ma loca Yalvarsam fayda etmez deme sakın bana Aşıklar bu nazı hep çekmek mi zorunda Haydi bana gel haydi benim ol Oskar ödülü gelsin artık yoksa bitmez senin bu rol Kalbimi alip vermedin geri vermedin Kalbimi alip gelmedin geri gelmedin Kalbimi çalıp vermedin geri vermedin geri vermedin Çekip gittin gelmedin geri gelmedin geri gelmedin Neler çektim ah bir bilsen Yalvarsam fayda etmez deme sakın bana Aşıklar bu nazı hep çekmek mi zorunda Haydi bana gel haydi benim ol Oskar ödülü gelsin artık yoksa bitmez senin bu rol Kalbimi çalıp vermedin geri vermedin geri vermedin Çekip gittin gelmedin geri gelmedin geri gelmedin Kalbimi çalıp vermedin geri vermedin geri vermedin Çekip gittin gelmedin geri gelmedin geri gelmedin
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Umut Timur - Vermedin (MRC) Tabs
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Harmony analysis
Umut Timur – Vermedin (MRC): key and chord analysis
The song opens on Bbm and ends on Fm. 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 opens on Bbm and Bbm is heard 3 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 3× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 3× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 3× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 3× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 3× |
| 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 | 3× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 3× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 3× |
| 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 12 times in total; 4 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2
The move to watch is Fm → Bbm, heard 2 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → 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 Gb, land on Gb, Bb, Db — 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.
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 Bbm, the song gives away its key from the very first bar. The backbone is Bbm, Gb, Ebm, Fm — vi–IV–ii–iii from the Db side, i–VI–iv–v from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; 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.
Umut Timur - Vermedin (MRC) 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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Lyrics: Umut TimurMusic: Umut Timur, Joost JellemaArrangement: Umut Timur
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