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)
Şöhrət Məmmədov - Get - Chord
Key Db major – Bb minor Chords Bbm, Gb, Fm, Ebm, Ab Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm Gb Fm Ebm Bbm Ab Gb
Bbm Gb Ebm Fm
Hamıda səni gəzdim, səni axtardım damla damla
Bbm Gb Ebm Fm
Səni kimsə əvəz etmir, kimsə sən olmur nə olar, anla
Ab Bbm Gb
Kimlər gəlir, kimlər gedir, nə etsəm də yerin dolmur
Bbm Gb Ebm Fm
Yenə dolaşıb sənə gəlirəm, məndə alınmır hər adamla
Fm Bbm Gb
Get, dilim deyir, get. Ürəyim deyir, getmə, amandır
Fm Bbm Gb
Get, fikir vermə dediklərimə, hamısı yalandır
Bbm Ab Gb
Sus, bax, gözlərimə doğru yalan orada görəcən
Bbm Ab Gb
Bax, nə hallardayam çıxır canım xeyli zamandır
Bbm Gb Ebm Fm
Düşündüm unudum səni, nə qədər çalışdım olmadı
Bbm Gb Ebm Fm
Yerinə qoydum özgəni, inan ki, yerin dolmadı
Ab Bbm Gb
Məhv etdin arzuları, bizi öldürdün, ay zalım
Bbm Gb Ebm Fm
Nə səndən, nə məndən, nə də bu sevgidən əsər qalmadı
Fm Bbm Gb
Get, dilim deyir, get. Ürəyim deyir, getmə, amandır
Fm Bbm Gb
Get, fikir vermə dediklərimə, hamısı yalandır
Bbm Ab Gb
Sus, bax, gözlərimə doğru yalan orada görəcən
Bbm Ab Gb
Bax, nə hallardayam çıxır canım xeyli zamandır
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Şöhrət Məmmədov - Get Tabs
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Harmony analysis
Şöhrət Məmmədov – Get: key and chord analysis
The song opens on Bbm and ends on Gb. 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 18 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 | 7× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 12× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 18× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 7× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 18× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 18× |
| 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 | 7× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 12× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 18× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 7× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 62 times in total; 5 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
- Gb Bbm DbIV → vi BbmVI → iVI → i ×8
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×6
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1
The move to watch is Gb → Bbm, heard 8 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → 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 Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Fm, land on F, Ab, C — 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
Starting on Bbm, the song gives away its key from the very first bar. Bbm, Gb, Fm, Ebm carry the song: vi–IV–iii–ii relative to Db, i–VI–v–iv relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. The final chord is Gb; 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.
Şöhrət Məmmədov - Get 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: Dildara Eyubova ,Şöhrət MəmmədovMusic: Hüseyin TalatArrangement: Elay music pro
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