Simge - Çapkınca (Ozan Bayraşa) - Chord

Key Db major – Bb minor Chords Fm, Gbmaj7, Ebm, Bbm Easy key C (capo 1)

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Capo 0

 
Gbmaj7    Fm          Bbm         Fm           Ebm
En doğru anda, yanı başımda beliriverdin çapkınca
                    Bbm       Fm
Yoksa kader seni mi bana, e kabul o zaman

Gbmaj7       Fm
Bildiğin akışma dokunduğunda
                   Ebm
Düşüme sızdın arsızca
                       Fm
Hisler kıyak, aşk yolunda

Gbmaj7          Fm
Koy ver gitsin, korkma kalbim
Ebm
Buldum bu defa, gitmem bi daha

Sanmam ki sen de beni küstürme sana

Gbmaj7
Gel düşünme binelim arabaya
    Fm
Delirip delirip gidelim oraya
    Ebm
Sevişe sevişe, hadi bi daha de
    Fm
Varalım sahildeki yerimize

Gbmaj7
Hadi Gel düşünme binelim arabaya
    Fm
Delirip delirip gidelim oraya
    Ebm
Sevişe sevişe, hadi bi daha de
    Fm
Varılır sahildeki yerimize

Gbmaj7                Fm
En doğru anda, yanı başımda beliriverdin çapkınca
Ebm                 Fm
Yoksa kader seni mi bana, e kabul o zaman

End of song Play again?

Simge - Çapkınca (Ozan Bayraşa) Tabs

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Harmony analysis

Simge – Çapkınca (Ozan Bayraşa): key and chord analysis

The song opens on Gbmaj7 and ends on Fm. 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 Bb minor side because Bbm is heard 2 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	6×
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	—
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	6×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	2×
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	2×
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	6×
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	—
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	6×
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 26 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

Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×1
Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×1

The move to watch is Ebm → Bbm, heard once. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → 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 Fm, land on F, Ab, C — 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 Ebm, 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 Gbmaj7; the ear learns where home is within a second. The chords that keep coming back are Fm, Gbmaj7, Ebm, Bbm; read them as iii–IVmaj7–ii–vi in Db or v–VImaj7–iv–i in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ebm → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. Ending on Fm, 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.