Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Kaan Boşnak - Deplasmanda Plasebo - Chord
Key Bb major – G minor Chords Dm, Eb, F, Cm, Bb Easy key C
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Key: Bb | Gm
Capo: 0
Dm Eb F Cm Dm
Dm Eb
Allah'ım kaderimde anarşi ve protesto
Dm
Antidepresanlar ve içi boş bir gardırop
Eb
Ne de çok yer kaplıyor mesela al pacino
Dm
Yardımın gerekiyor kadıköy'deyim stop
Dm Eb
Allah'ım kaderimi sen yazdın sen bilirsin
Dm
Kalbim oyuncak mı ne, ne kolay kırılıyor?
Eb
Deplasmandır bu dünya diyor albino şeyhim
Dm
Plasebo yutturuyor bana depresif doktor
Eb F Cm
Allah'ım kaderimden şikayetçi değilim
Dm Eb
Aksine bahtiyarım evrende bana da rol
F
Verdiğin için şahsen, Allah'ım bizler senin
Cm Bb
Falsolu kullarınız, nolur bizden razı ol
End of song Play again?
Kaan Boşnak - Deplasmanda Plasebo Tabs
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Harmony analysis
Kaan Boşnak – Deplasmanda Plasebo: key and chord analysis
The song opens on Dm and ends on Bb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb major side because it comes to rest on Bb and Bb is heard 1 times while Gm never appears. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 1× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 3× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 9× |
| III | D | Chromatic colour chordoutside the key | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 7× |
| V | F | Dominant — strongest pull home | F · A · C | 3× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | — |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | — |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 1× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 3× |
| v | Dm | Minor dominant — soft pull | D · F · A | 9× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 7× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 3× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 23 times in total; 5 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
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×3
The move to watch is Eb → F, heard 3 times. From the Bb side it reads IV → V (IV → V: the lift that builds tension before home); from the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Eb, F, Cm; read them as iii–IV–V–ii in Bb or v–VI–VII–iv in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): IV → V — the lift that builds tension before home. Ending on Bb, the song seals Bb 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.
Kaan Boşnak - Deplasmanda Plasebo 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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