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)
Bilal Hancı - Allahum Al Canumi (Onur Atmaca) - Chord
Key Db major – Bb minor Chords F, Ebm, Bbm, Gb, Cm7b5 Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm F Ebm F
Kafami vuracağumda duvarlara taşlara
Bbm Gb Ebm
Bir vefasuz yuzünden oy yazuk akan yaşlara
Bbm Gb Ebm F
Bir vefasuz yuzünden oy yazuk akan yaşlara
Gb Ebm Cm7b5 F
Bir vefasuz yuzünden yazuk akan yaşlara ah
Bbm F Ebm F
Allah'um al canumi da ben onsuz yaşayamam
Bbm Gb Ebm
Her gece bölünüyor uykularum sancilan
Bbm Gb Ebm F
Her gece bölünüyor da uykularum sancilan
Gb Ebm Cm7b5 F
Her gece bölünüyor uykularum sancilan
Bbm F Ebm F
Sabahtan kalktum baktum da güneşun onu bulut
Bbm Gb Ebm
Seni sana biraktum ister sev ister unut
Bbm Gb Ebm F
Seni sana biraktum oy ister sev ister unut
Gb Ebm Cm7b5 F
Seni sana biraktum ister sev ister unut
Bbm F Ebm F
Allah'um al canumi da ben onsuz yaşayamam
Bbm Gb Ebm
Her gece bölünüyor uykularum sancilan
Bbm Gb Ebm F
Her gece bölünüyor da uykularum sancilan
Gb Ebm Cm7b5 F
Her gece bölünüyor uykularum sancilan
Gir artuk arabaya da çalsunler kornalari
Yikilursa yikilsun garibin dünyalari
Yikilursa yikilsun oy garibin dünyalari
Yikilursa yikilsun o yarun dünyalari
End of song Play again?
Bilal Hancı - Allahum Al Canumi (Onur Atmaca) Tabs
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Harmony analysis
Bilal Hancı – Allahum Al Canumi (Onur Atmaca): 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 12 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 | 16× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | 16× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 12× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 12× |
| viiø7 | Cm7b5 | Leading-tone chord — tension | C · Eb · Gb · Bb | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 12× |
| iiø7 | Cm7b5 | Supertonic — prepares the dominant | C · Eb · Gb · Bb | 4× |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 16× |
| 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 | 16× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 12× |
| 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). 5 different chords appear 60 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 F is V/vi, a secondary dominant heading for Bbm.
Chord movement
- Ebm F Dbii → V/vi Bbmiv → Viv → V ×8
- F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×7
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×4
- Cm7b5 F Dbviiø7 → V/vi Bbmiiø7 → Vii° → V ×4
The move to watch is Ebm → F, heard 8 times. From the Bbm side it is iv → V (iv → V: the minor side's tension builder); from the Db side it reads ii → V/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 F, land on F, A, C — 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 Bbm, land on Bb, Db, F — 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 first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are F, Ebm, Bbm, Gb; read them as V/vi–ii–vi–IV in Db or V–iv–i–VI in 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 Ebm → F (ii → V/vi in Db, iv → V in Bbm): iv → V — the minor side's tension builder. Ending on F, the song seals Db as home.
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.
Bilal Hancı - Allahum Al Canumi (Onur Atmaca) 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: Mehmet TakMusic: Mehmet TakArrangement: Emre Parlak
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