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)
Yiğit Mahzuni - Eller Üzer (Ceylan Koynat) - Chord
Key Db major – Bb minor Chords Bbm, Ab, Fm, Gb, Db, Ebm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm
Bak getirdi kader bizi oyuna
Ölmeye hazırken yoluna, bizi anlatır dururum
Fm
Kadehim dolu kalkıyor yok oluşuna
Ab Fm
Ama aldırma durulurum
Ab Gb
Yerlere düşse yine gururum
Bbm
Bulurum bi çaresini
Ebm Ab Bbm
Belki de kaybolurum, beni boşver sen
Bbm Gb
Eller üzer seni dayanamazsın
Fm
Bu dünyayı tanıyamazsın
Ab Db
Hiç hazır değil ki duyguların
Ab Bbm
O kötü kalpleri taşıyamazsın
Gb
Ben seni öpmelere kıyamadım
Fm
O yeşil gözlerine doyamadım
Ab Db
Bu kaderin benimle inadı
Bbm
Beni boşver, anlayamazsın
Bbm Gb
Eller üzer seni dayanamazsın
Fm
Bu dünyayı tanıyamazsın
Ab Db
Hiç hazır değil ki duyguların
Ab Bbm
O kötü kalpleri taşıyamazsın
Gb
Ben seni öpmelere kıyamadım
Fm
O yeşil gözlerine doyamadım
Ab Db
Bu kaderin benimle inadı
Bbm
Beni boşver, anlayamazsın
End of song Play again?
Yiğit Mahzuni - Eller Üzer (Ceylan Koynat) Tabs
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Harmony analysis
Yiğit Mahzuni – Eller Üzer (Ceylan Koynat): 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 9 times against 4 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 | 4× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 1× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 6× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 5× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 9× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 9× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 9× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 4× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 1× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 6× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 5× |
| 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). 6 different chords appear 34 times in total; 6 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
- Ab Db DbV → Iauthentic cadence BbmVII → III ×4
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×3
- Gb Bbm DbIV → vi BbmVI → iVI → i ×1
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×1
The move to watch is Ab → Db, heard 4 times. From the Bbm side it is VII → III; from the Db side it reads V → I (authentic cadence: the strongest arrival 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 Bbm, land on Bb, Db, F — 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
- 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. Bbm, Ab, Fm, Gb carry the song: vi–V–iii–IV relative to Db, i–VII–v–VI relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Db (V → I in Db, VII → III in Bbm): authentic cadence — the strongest arrival home. 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.
Yiğit Mahzuni - Eller Üzer (Ceylan Koynat) 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: Yiğit MahzuniMusic: Yiğit Mahzuni
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