Bengü - Günaydın - Chord

Key Db major – Bb minor Chords Fm, Gbmaj7, Gb, Ab, Bbm, Ebm, Dbmaj7 Easy key C (capo 1)

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Capo 0

Gbmaj7  Fm

Gbmaj7
 Bir umutsun, ne güzelsin
Fm
 Beni sevdin biliyorum
 Gbmaj7
Kalbim sana çarptı
Ab             Fm
Heyecandan ölüyorum

   Bbm             Gbmaj7
Yüzünü göreli, içim açılalı
   Fm
Abayı yakalı, derdim şifalı
    Gbmaj7           Ebm
Dilimin ucuna, yüreğe yazılı
   Ab               Fm
Bilirim ikimiz de sevdalı

     Bbm                        Fm
Bi daha hisseder miyim diyordum böyle bir aşkı
   Gbmaj7                     Fm
Uyanıp gündüze gülerek diyebilmekmiş günaydın
        Gb                       Ab          Gb
Hele bi yanıma uzanıp uyu da, uzaklar olur yakın
                  Ebm          Gb           Dbmaj7
Kötü günler geride kaldı artık güldü bana bahtım

     Bbm                        Fm
Bi daha hisseder miyim diyordum böyle bir aşkı
   Gbmaj7                     Fm
Uyanıp gündüze gülerek diyebilmekmiş günaydın
        Gb                       Ab          Gb
Hele bi yanıma uzanıp uyu da, uzaklar olur yakın
                  Ebm          Gb           Dbmaj7
Kötü günler geride kaldı artık güldü bana bahtım

End of song Play again?

Bengü - Günaydın Tabs

NotesX

Harmony analysis

Bengü – Günaydın: key and chord analysis

The song opens on Gbmaj7 and ends on Dbmaj7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

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 because it comes to rest on Db and Bbm is heard 3 times against 2 for Db. 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
Imaj7	Dbmaj7	Tonic — home	Db · F · Ab · C	2×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	3×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	9×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	7×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	6×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	4×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	3×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	3×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
IIImaj7	Dbmaj7	Relative major — the bright side	Db · F · Ab · C	2×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	3×
v	Fm	Minor dominant — soft pull	F · Ab · C	9×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	7×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	6×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	4×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 34 times in total; 7 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 Dbmaj7 DbIV → Imaj7plagal cadence BbmVI → IIImaj7 ×2
Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
Gbmaj7 Ab DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×1
Ebm Ab Dbii → Vii → V Bbmiv → VII ×1

The move to watch is Gb → Dbmaj7, heard 2 times. From the Db side it reads IV → Imaj7 (plagal cadence: the soft 'amen' ending); from the Bbm side it is VI → IIImaj7. 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 Gbmaj7, land on Gb, Bb, Db — 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
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is Gbmaj7; the ear learns where home is within a second. Fm, Gbmaj7, Gb, Ab carry the song: iii–IVmaj7–IV–V relative to Db, v–VImaj7–VI–VII relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Dbmaj7 (IV → Imaj7 in Db, VI → IIImaj7 in Bbm): plagal cadence — the soft 'amen' ending. Ending on Dbmaj7, the song seals Db 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.