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)
Son Dört - Yine Gel - Chord
Key Db major – Bb minor Chords Bbm, F, Gb, Ebm, Eb, Cm7 Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Eb Cm7 F
Bbm
Duvarlarım mı var, saklıyor muyum
Gb
Birazcık aşığım biraz da yalnızım
Ebm
Gelmeyin üstüme hayata kızgınım
F
Biraz da geçmişe dair anılarım
Bbm
Umutlarım mı yok anlatılmaz ki
Gb
Yeniden doğmuşum seninle inan ki
Ebm
Tutmayın şimdi uzun bir yol var önümde
F
Tam da kalbimin istediği bir yerdeyim
Bbm
Güzel çiçeğim ne de çabuk gittin
Ebm
Onca yıl sonra aşkı sevdirmiştin
Gb
İçimde yalnızlığımla yaşardım, kaçardım
F
Bilirim olamam sensiz
Bbm
Güzel çiçeğim ne de çabuk gittin
Ebm
Onca yıl geçti yeniden sevmiştim
Gb
İçimde yalnızlığımla yaşardım, susardım
F
İsterdim yeniden yine
Bbm
Yine gel, güzel çiçeğim
Ebm
Yine gel, ne de çabuk gittin
Gb
Yine gel, güzel çiçeğim
F
İsterdim yeniden yine
Bbm Ebm Gb F
Bbm
Duvarlarım mı var, saklıyor muyum
Gb
Birazcık aşığım biraz da yalnızım
Ebm
Gelmeyin üstüme hayata kızgınım
F
Biraz da geçmişe dair anılarım
Bbm
Olmayınca sen hayatım dolmuyor
Gb
Olmayınca sen yerine konmuyor
Ebm
Olmayınca sen güneşim doğmuyor
F
Olmuyor
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Son Dört - Yine Gel Tabs
NotesX
Harmony analysis
Son Dört – Yine Gel: key and chord analysis
The song opens on Bbm and ends on F. 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 opens on Bbm, Bbm is heard 9 times while Db never appears 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 | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 8× |
| II | Eb | Chromatic colour chordoutside the key | Eb · G · Bb | 1× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | 9× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 9× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| vii7 | Cm7 | Chromatic colour chordoutside the key | C · Eb · G · Bb | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 9× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| ii7 | Cm7 | Chromatic colour chordoutside the key | C · Eb · G · Bb | 1× |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 8× |
| IV | Eb | Major IV — Dorian / melodic-minor colourmodal colour | Eb · G · Bb | 1× |
| 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 | 9× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 36 times in total; 3 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. Eb, Cm7 step outside the scale as colour chords.
Chord movement
- F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×8
- Ebm F Dbii → V/vi Bbmiv → Viv → V ×4
The move to watch is F → Bbm, heard 8 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 F, land on F, A, C — 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.
- 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
The opening Bbm lays a solid floor for everything that follows. The backbone is Bbm, F, Gb, Ebm — vi–V/vi–IV–ii from the Db side, i–V–VI–iv from the Bbm side. 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 F; the ear comes to rest in Db.
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.
Son Dört - Yine Gel 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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