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)
Özgür Kaplan - Azar Azar - Chord
Key Db major – Bb minor Chords Ab, Bbm, Gb, Fm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Bbm Ab Gb Fm
Bbm
Bir ruzgarda kırılacak dal mıydım
Ab
Hele bir bak şu çaresiz halime
Bbm
Off çekmeden yıkılacak dal mıydım
Ab
Yaz gelmeden kışlar geldi gönlüme
Gb
Off çekmeden yıkılacak dal mıydım
Ab Gb Fm
Yaz gelmeden kışlar geldi gönlüme
Bbm
Kader örmüş ağlarını azar azar
Çalmış bir bir yıllarımı azar azar
Ab
Yandı gönlum yüz yerinden azar azar
Gb Fm
Ecel bekler yollarımı azar azar
Bbm
Yıllar benden çok şey aldı azar azar
Ateşimden bir kul kaldı azar azar
Ab
Hazan vurdu talan oldum azar azar
Gb Fm
Ne dal kaldı ne gul kaldı azar azar
Bbm
Her yanıma vefasızlar sarılmış
Ab
Umutlarım güpe gunduz çalınmış
Bbm
Bilmiyorum kimden hesap sorayım
Ab
Garip gönlüm bana bile darılmış
Gb
Bilmiyorum kimden hesap sorayım
Ab Gb Fm
Garip gönlüm bana bile darılmış
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Özgür Kaplan - Azar Azar Tabs
NotesX
Harmony analysis
Özgür Kaplan – Azar Azar: key and chord analysis
The song opens on Bbm 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 it opens on Bbm and Bbm is heard 8 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 | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 5× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 7× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 9× |
| 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 | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 5× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 7× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 9× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 29 times in total; 4 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 ×4
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2
The move to watch is Fm → Bbm, heard 4 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 Ab, land on Ab, C, Eb — 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are Ab, Bbm, Gb, Fm; read them as V–vi–IV–iii in Db or VII–i–VI–v 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.
Özgür Kaplan - Azar Azar 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: Yunus TaşkınMusic: Yunus Taşkın
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