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)
Tekir - Ağlaya Ağlaya - Chord
Key Db major – Bb minor Chords Bbm7, Gbmaj7, Ebm7, Fm7 Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm7 Gbmaj7 Ebm7 Bbm7 Gbmaj7 Fm7 Bbm7 Düşsem yine korkumun peşine Gbmaj7 Ebm7 Bbm7 Onu düşüne düşüne deli olurum, aman Seni doldurdum içime Gbmaj7 Fm7 Bbm7 Bi’ kendime yer kalmadı, beni siliyor zaman Bbm7 İsmimi hiç hecelemiyor yar Gbmaj7 Ebm7 Solun sağır olmuş; ölü beni sağ duy Bbm7 Nedeni belli; bilemiyolar, vah Gbmaj7 Fm7 Ahım sende gizli; göremiyolarsa Bbm7 Doğru durmayı hiç beceremiyorsan Gbmaj7 Ebm7 Yaptığın yanlışın arkasında dur Bbm7 Sen bu acıyı yele veriyorsan Gbmaj7 Fm7 Rüzgarı da seni ele veriyor bak Bbm7 Gbmaj7 Ebm7 Ben ağlaya ağlaya, çıktım sana varmaya Bbm7 Gbmaj7 Fm7 Düştüm yollara, buldum seni; araya araya Bbm7 Gbmaj7 Ebm7 Seslendim sallamadın, anlattım anlamadın Bbm7 Gbmaj7 Fm7 Vazgeçiyorum yüreğimi dağlaya dağlaya
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Tekir - Ağlaya Ağlaya Tabs
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Harmony analysis
Tekir – Ağlaya Ağlaya: key and chord analysis
The song opens on Bbm7 and ends on Fm7. 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 13 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 | — |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 6× |
| iii7 | Fm7 | Mediant — a tonic-family shade | F · Ab · C · Eb | 6× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IVmaj7 | Gbmaj7 | Subdominant — moves away from home | Gb · Bb · Db · F | 12× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 13× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 13× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 6× |
| v7 | Fm7 | Minor dominant — soft pull | F · Ab · C · Eb | 6× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 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). 4 different chords appear 37 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
- Ebm7 Bbm7 Dbii7 → vi7 Bbmiv7 → i7minor plagal ×6
- Fm7 Bbm7 Dbiii7 → vi7 Bbmv7 → i7natural-minor cadence ×5
The move to watch is Ebm7 → Bbm7, heard 6 times. From the Bbm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Db side it reads ii7 → vi7. 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 Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Ebm7, land on Eb, Gb, Bb — 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is Bbm7; the ear learns where home is within a second. The backbone is Bbm7, Gbmaj7, Ebm7, Fm7 — vi7–IVmaj7–ii7–iii7 from the Db side, i7–VImaj7–iv7–v7 from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm7 → Bbm7 (ii7 → vi7 in Db, iv7 → i7 in Bbm): minor plagal — deep and melancholic. It closes on Fm7, 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.
Tekir - Ağlaya Ağlaya 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: TekirMusic: Tekir
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