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)
Hemsaye - Kim Bilir - Chord
Key Db major – Bb minor Chords Bbm, Ab, Ebm Easy key C (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Db | A#m | Bbm
Capo: 0
Bbm Ab Bbm Ab Bbm Ab Ebm Ab
Bbm
Çok saçma değil mi
Sensiz geçen günlerin
Ebm
Bu kadar normal olması
Bbm
Birkaç sey var
Anlatsam mı bilmiyorum
Ebm
Yılların bu kadar hızlı geçmesi
Yoruyor beni
Ab
Ne kaldı ki elimde
Ne kaldı ki geriye
Ebm
Bir yığın düşmüş hayaller
Bbm
Korkunun bedeliydi
Ebm Ab
Belki de tüm bu olanlar, olacaklar
Ebm Bbm
Vaktinin esiiiiri
Bbm Ab
Senden ibaret bir pencere vardı
Bbm Ab
Sade ordan bakınca gözkyüzü dardı
Bbm Ab
Görüp sevmek nedir ki, ne anlamı vardı
Ebm Ab
Karanlıkta sevdalıyım gökyüzüne
Bbm
Kim bilir
Ebm
Ardını birleşmiyor sandığın
Ab
Gökyüzüyle ummanın vuslatı
Bbm
Ufukta bekliyorum seni
Ebm
O güvercinle martı bizim
Ab Ebm
Yerimize kanatlanıp yolculuk etsin
Bbm
Ki gözlerine değince
Ab
Tam bir an durur zaman
End of song Play again?
Hemsaye - Kim Bilir Tabs
NotesX
Harmony analysis
Hemsaye – Kim Bilir: key and chord analysis
The song opens on Bbm and ends on Ab. 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 opens on Bbm and Bbm is heard 13 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 | 10× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 13× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 13× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 13× |
| 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 | 10× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 13× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 36 times in total; 3 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 Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×7
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×6
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×4
The move to watch is Ab → Bbm, heard 7 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). 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 Ebm, land on Eb, Gb, Bb — 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 Bbm; the ear learns where home is within a second. The backbone is Bbm, Ab, Ebm — vi–V–ii from the Db side, i–VII–iv from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. It closes on Ab, 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.
Hemsaye - Kim Bilir 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: HemsayeMusic: Hemsaye
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.