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)
Mazlum Çimen - İstanbullum (Soner Sarıkabadayı) - Chord
Key Db major – Bb minor Chords Fm, Bbm, Gbmaj7, Ebm, Ab, Db, Gb Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Bbm Gbmaj7 Fm
Fm Ab
Ne postacı uğrar semtime
Ebm Fm
Ne turnalar selam getirir
Fm Bbm Gbmaj7
Vefasız çıktın, vefasız çıktın
Fm
İstanbullum
Fm Bbm Gbmaj7 Fm
Fm
Katlanmaksa katlanıyorum
Db Bbm
Kimselere belli etmeden
Ebm Bbm Fm
İyi kötü bir iş tutturmuşum
Gb Ab Fm
Acısı tatlısı hepsi bir
Fm
Senden urak olduktan sonra
Db Bbm Ebm
Ha Trabzon ha Diyarbakııııır
Fm Bbm Gbmaj7
Vefasız çıktın, vefasız çıktın
Fm
İstanbullum
Fm Ab
Nerede olsa yaşıyor insan
Ebm Fm
Nerede olsa bir gün ölmek var
Fm Bbm Gbmaj7
Vefasız çıktın, vefasız çıktın
Fm
İstanbullum
End of song Play again?
Mazlum Çimen - İstanbullum (Soner Sarıkabadayı) Tabs
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Harmony analysis
Mazlum Çimen – İstanbullum (Soner Sarıkabadayı): key and chord analysis
The song opens on Fm and ends on Fm. 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 Bbm is heard 8 times against 2 for Db. 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 | 2× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 4× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 18× |
| 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 | 5× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 1× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 3× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 8× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 8× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 2× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 4× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 18× |
| 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 | 5× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 1× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 3× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 41 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
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×5
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
The move to watch is Fm → Bbm, heard 5 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — 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.
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 Fm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Bbm, Gbmaj7, Ebm; read them as iii–vi–IVmaj7–ii in Db or v–i–VImaj7–iv in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. It closes on Fm, 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.
Mazlum Çimen - İstanbullum (Soner Sarıkabadayı) 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: Cahit Sıtkı TarancıMusic: Mazlum ÇimenArrangement: Osman Çetin
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