Oğuzhan Koç - Kimseler Bulamasın Bizi - Chord

Key Db major – Bb minor Chords Ebm7, Fm7, Dbmaj7, Gb, Ebm Easy key C (capo 1)

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Capo 0

Dbmaj7     Ebm7     Fm7
Olur ya hani kulakların çınlarsa bir gün 
Gb        Ebm7      Dbmaj7
Anla ki seni anmaktayım
        Ebm7     Fm7
Korur seni dualarım 
            Gb         Ebm7       Dbmaj7
Üşürsen ara sıcaktır benim duvarlarım

Dbmaj7
Eski bir resmimiz avucumda
Fm7
Yatağımın tam da başucunda
Ebm7
Seni görmek varsa ucunda
Gb
Yolları gelirim yormaz uzak beni

Dbmaj7
Günüm hem bitik hemde gururda
Fm7
Aynı anılarla avunur da
Ebm7
Döner durur aynı çukurda
Gb
Boşver veririm canımı bu can benim

Dbmaj7                Ebm7
Kaybolsak mı gel bu gece
                     Fm7
Silelim ayak izlerimizi

Cennetten bi' köşede
Gb   Fm7   Ebm7      Dbmaj7
Kimseler bulamasın bizi
                     Ebm7
Savulsak mı gel bu gece
                 Fm7
Bilelim hislerimizi

Seyret sen öylece
Gb    Fm7   Ebm7       Dbmaj7
Ben sarar sarmalarım bizi

Dbmaj7    Ebm7                      Fm7
Olurya hani  (Kimseler bulamasın bizi)
Gb    Fm7   Ebm     Dbmaj7
Anla ki seni anmaktayım 
         Ebm7                     Fm7
Korur seni (Kimseler bulamasın bizi)
            Gb    Fm7   Ebm        Dbmaj7
Üşürsen ara ben sarar sarmalarım bizi

End of song Play again?

Oğuzhan Koç - Kimseler Bulamasın Bizi Tabs

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Harmony analysis

Oğuzhan Koç – Kimseler Bulamasın Bizi: key and chord analysis

The song opens on Dbmaj7 and ends on Dbmaj7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

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 Db major side because it both starts and finishes on Db and Db is heard 11 times while Bbm never appears. That is an interpretation, not a rule — hearing the same chords from Bb minor is just as valid and teaches you something different.

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.

Seen from Db major
Degree	Chord	Role	Notes	In song
Imaj7	Dbmaj7	Tonic — home	Db · F · Ab · C	11×
ii7	Ebm7	Supertonic — prepares the dominant	Eb · Gb · Bb · Db	12×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	2×
iii7	Fm7	Mediant — a tonic-family shade	F · Ab · C · Eb	12×
III	F	Chromatic colour chordoutside the key	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	8×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	—
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	—
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
IIImaj7	Dbmaj7	Relative major — the bright side	Db · F · Ab · C	11×
iv7	Ebm7	Subdominant — moves away from home	Eb · Gb · Bb · Db	12×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	2×
v7	Fm7	Minor dominant — soft pull	F · Ab · C · Eb	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	8×
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 45 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 Dbmaj7 DbIV → Imaj7plagal cadence BbmVI → IIImaj7 ×2

The move to watch is Gb → Dbmaj7, heard 2 times. From the Db side it reads IV → Imaj7 (plagal cadence: the soft 'amen' ending); from the Bbm side it is VI → IIImaj7. 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 Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Dbmaj7, land on Db, F, Ab — 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
1 semitone up

The song's harmonic story

The opening Dbmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Ebm7, Fm7, Dbmaj7, Gb; read them as ii7–iii7–Imaj7–IV in Db or iv7–v7–IIImaj7–VI in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Dbmaj7 (IV → Imaj7 in Db, VI → IIImaj7 in Bbm): plagal cadence — the soft 'amen' ending. Ending on Dbmaj7, 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.