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)
Fazıl Say - Dört Mevsim (Serenad Bağcan) - Chord
Key Db major – Bb minor Chords Bbm, Ebm, F, Ab, Db, Gb Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ebm Bahar mezarına gömsünler sizi F Bbm Bahar mezarına gömsünler sizi Bbm Ebm Yapraklar gibi buluştunuzdu Ab Db Kokular gibi seviştinizdi Bbm Ebm Bahar mezarına gömsünler sizi F Bbm Bahar mezarına gömsünler sizi Bbm Ebm Bbm Ebm Bbm Gb F Bbm Bbm Ebm Yaz mezarına gömsünler sizi F Bbm Yaz mezarına gömsünler sizi Bbm Ebm İlk kezmiş gibi buluştunuzdu Ab Db Son kezmiş gibi seviştinizdi Bbm Ebm Yaz mezarına gömsünler sizi F Bbm Yaz mezarına gömsünler sizi Bbm Ebm Bbm Ebm Bbm Gb F Bbm Bbm Ebm Güz mezarına gömsünler sizi F Bbm Güz mezarına gömsünler sizi Bbm Ebm Salkımlar gibi buluştunuzdu Ab Db Ağular gibi seviştinizdi Bbm Ebm Güz mezarına gömsünler sizi F Bbm Güz mezarına gömsünler sizi Bbm Ebm Bbm Ebm Bbm Gb F Bbm Bbm Ebm Kış mezarına gömsünler sizi F Bbm Kış mezarına gömsünler sizi Bbm Ebm Sokaklar gibi buluştunuzdu Ab Db Çarşılar gibi seviştinizdi Bbm Ebm Kış mezarına gömsünler sizi F Bbm Kış mezarına gömsünler sizi
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Fazıl Say - Dört Mevsim (Serenad Bağcan) Tabs
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Harmony analysis
Fazıl Say – Dört Mevsim (Serenad Bağcan): 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)
- #7 = A (harmonic-minor leading tone from the V chord)
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, Bbm is heard 32 times against 4 for Db and the major V chord points straight at Bbm. 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 | 18× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | 11× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 3× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 4× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 32× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 32× |
| 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 | 18× |
| 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 | 11× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 3× |
| 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). 6 different chords appear 72 times in total; 5 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm.
Chord movement
- F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×11
- Ebm F Dbii → V/vi Bbmiv → Viv → V ×8
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×6
- Ab Db DbV → Iauthentic cadence BbmVII → III ×4
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×4
The move to watch is F → Bbm, heard 11 times. From the Bbm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V/vi → vi. 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 Ebm, land on Eb, Gb, 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.
- When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
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, Ebm, F, Ab carry the song: vi–ii–V/vi–V relative to Db, i–iv–V–VII relative to Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on F → Bbm (V/vi → vi in Db, V → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. 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.
Fazıl Say - Dört Mevsim (Serenad Bağcan) 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: Cemal SüreyaMusic: Fazıl Say
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