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)
Grup Gündoğarken - Değiştim Oysa - Chord
Key Db major – Bb minor Chords F7, Bbm, Ebm, Ab, Db Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm
Gerçek sanıp inansaydım sığınsaydım aşkına
Ebm
Gozlerime dalıp dalıp ettiğin yeminlere
Ab Db F7
Sonu gelmez yalanların rüzgarına kapılsaydım
Bbm
Rüya sanıp uyusaydım usul usul saçlarında
Ebm
Doyasıya yaşasaydım huzur veren kollarında
Ab Db F7
Geceleri anlamadan sebepsizce uyansaydım
F7
Değiştim oysa
Bbm
Eger oyun buysa
Ebm
Ne ararım ne sorarım geçmişi
F7
Dönmem bir daha
F7
Değiştim oysa
Bbm
Eğer oyun buysa
Ebm
Ne ararım ne sorarım Leylayı
F7
Dönmem mecnuna
Bbm
Sessiz kalıp göz yumsaydı yokmuşum gibi davranmana
Ebm
Boşver deyip geçiştirip herşeyi benden beklemene
Ab Db F7
İçimdeki büyümemiş çocuğa katlansaydım
Bbm
Boyun eğip hep sussaydım sözlerinin karşısında
Ebm
Sığınsaydım anlamsızca güvenilmez limanlara
Ab Db F7
Karşı koyup duygulara kendimi unutsaydım
F7
Değiştim oysa
Bbm
Eger oyun buysa
Ebm
Ne ararım ne sorarım geçmişi
F7
Dönmem bir daha
F7
Değiştim oysa
Bbm
Eğer oyun buysa
Ebm
Ne ararım ne sorarım Leylayı
F7
Dönmem mecnuna
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Harmony analysis
Grup Gündoğarken – Değiştim Oysa: key and chord analysis
The song opens on Bbm and ends on F7. 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 8 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 | 8× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V7/vi | F7 | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C · Eb | 12× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 4× |
| 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 | 4× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 8× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V7 | F7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C · Eb | 12× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| 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). 5 different chords appear 36 times in total; 4 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 F7 is V7/vi, a secondary dominant heading for Bbm.
Chord movement
- F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×7
- Ab Db DbV → Iauthentic cadence BbmVII → III ×4
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×4
- Ebm F7 Dbii → V7/vi Bbmiv → V7iv → V ×4
The move to watch is F7 → Bbm, heard 7 times. From the Bbm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V7/vi → vi (secondary resolution: F7 resolves a fourth up to 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 F7, land on F, A, 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- When F7 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 chords that keep coming back are F7, Bbm, Ebm, Ab; read them as V7/vi–vi–ii–V in Db or V7–i–iv–VII in Bbm. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F7 → Bbm (V7/vi → vi in Db, V7 → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. The final chord is F7; 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.
Grup Gündoğarken - Değiştim Oysa 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: Burhan ŞeşenMusic: Burhan Şeşen
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