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)
Erkin Koray - Cemalım - Chord
Key Db major – Bb minor Chords Fm, Ab, Gb, Ebm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Ebm Şen olasın Ürgüp dumanın tütmez Ab Gb Fm Kır atım acemi konağı tutmaz Fm Ebm Oğlunda pek küçük yerini tutmaz Ab Gb Fm Cemalım Cemalım Aslan Cemalım Ab Gb Fm Al kanlar içinde kaldın Cemalım Fm Ebm Ürgüp'ten de çıktığımı görmüşler Ab Gb Fm Kır atımın sekişinden bilmişler Fm Ebm Beni öldürmeye karar vermişler Ab Gb Fm Cemalım Cemalım Aslan Cemalım Ab Gb Fm Al kanlar içinde kaldın Cemalım
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Erkin Koray - Cemalım Tabs
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Harmony analysis
Erkin Koray – Cemalım: key and chord analysis
The song opens on Fm 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: we can't honestly pick a side here — the song moves freely between Db major and Bb minor. Try reading the chords both ways and see which feels more like home to you.
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 | 4× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 10× |
| III | F | Chromatic colour chordoutside the key | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 6× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 6× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | — |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | — |
| 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 | 4× |
| 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 | 6× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 6× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 26 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
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×4
The move to watch is Ebm → Ab, heard 4 times. From the Db side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bbm side it is iv → VII. 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 Fm, land on F, Ab, C — 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 Gb, land on Gb, Bb, Db — 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
- 1 semitone up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Ab, Gb, Ebm; read them as iii–V–IV–ii in Db or v–VII–VI–iv in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → Ab (ii → V in Db, iv → VII in Bbm): ii → V — the classic preparation of the dominant. 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.
Erkin Koray - Cemalım 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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