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)
Murat Dalkılıç - Son Liman - Chord
Key Db major – Bb minor Chords Gb, Ab, Bbm, Fm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Gb Bbm Ab Fm
Gb Bbm Ab
Süren doldu mu seni alır giderler
Fm Gb
Bu kalpten götürürler
Bbm Ab
Aklını çelen bazı düşünceler
Fm
Tamamen silinirler
Gb Bbm Ab
Senden kalanlara dokunmadım
Fm Gb
Asla soluma koymadım
Bbm Ab
Aklımdan geçenleri tek tek
Fm Gb
Hiç yüzüne yüzüne okumadım
Gb Bbm Ab
Ağla kalbinden kelimeler dökülsün
Fm Gb
Sana söz bile yok
Bbm Ab
Yalvar yakar bu beden de çok zor
Fm Gb
Artık etkilenmiyorum
Bbm Ab
Deniz bu elbet dalgalanır durulur
Fm Gb
Senle yol almak çok zor
Bbm Ab
Kalbi kırık olanlara
Fm Ab
O zaman bu liman son
Gb Bbm Ab Fm
End of song Play again?
Murat Dalkılıç - Son Liman Tabs
NotesX
Harmony analysis
Murat Dalkılıç – Son Liman: key and chord analysis
The song opens on Gb 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 Bbm is heard 10 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 | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 10× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 11× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 11× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 10× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 10× |
| 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 | 10× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 11× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 11× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 42 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
- Gb Bbm DbIV → vi BbmVI → iVI → i ×10
The move to watch is Gb → Bbm, heard 10 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → 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 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 Bbm, land on Bb, Db, F — 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
The opening Gb lays a solid floor for everything that follows. Gb, Ab, Bbm, Fm carry the song: IV–V–vi–iii relative to Db, VI–VII–i–v relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. It closes on Fm, letting the Db side have the last word.
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.
Murat Dalkılıç - Son Liman 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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