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)
Kendimden Hallice - Düştüm Esarete - Chord
Key Db major – Bb minor Chords Gbmaj7, Ab, Bbm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Gbmaj7
Derinde ki yaralara dal bak
Ab
Medet umdum bir iki ilaçtan
Gbmaj7
Tamiri mümkün değil kalbin çünkü
Ab
Ustası sen bile olsan
Gbmaj7
Ah kırgın canım gördüm dibi
Ab
Daha da düşemem ki zemindeyim
Gbmaj7
Bu coğrafya yormuş beni
Ab
Umrum bile umrumda değil
Gbmaj7
Düştüm esarete, mesafeler çoktu
Bbm Ab
Cesaret et yeni bir kalbi
Gbmaj7 Ab Bbm
Sevmek adına cesaret et
Gbmaj7
Sanki başkalaştı, kalbim aşka karşı
Ab
Cebimde gülüşünden biraz kırıntı kalmış
Gbmaj7
Gözümde gözlerin bu iklimse ürperir
Ab
Yoruldu dizlerim sana düşünce gizlerim
Gbmaj7
Gönlüm oldu pare pare içine çekti bir rehavet
Ab
İsterdim hep hep hep hep beraber
Gbmaj7
Düştüm esarete, mesafeler çoktu
Bbm Ab
Cesaret et yeni bir kalbi
Gbmaj7 Ab Bbm
Sevmek adına cesaret et
End of song Play again?
Kendimden Hallice - Düştüm Esarete Tabs
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Harmony analysis
Kendimden Hallice – Düştüm Esarete: key and chord analysis
The song opens on Gbmaj7 and ends on Bbm. 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 comes to rest on Bbm and Bbm is heard 4 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 | — |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| 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 | 11× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 11× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 4× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 4× |
| 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 | — |
| 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 | — |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 11× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 11× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 3 different chords appear 26 times in total; 3 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
- Gbmaj7 Ab DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×9
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
- Gbmaj7 Bbm DbIVmaj7 → vi BbmVImaj7 → iVI → i ×2
The move to watch is Gbmaj7 → Ab, heard 9 times. From the Bbm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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.
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
The opening Gbmaj7 lays a solid floor for everything that follows. Gbmaj7, Ab, Bbm carry the song: IVmaj7–V–vi relative to Db, VImaj7–VII–i relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gbmaj7 → Ab (IVmaj7 → V in Db, VImaj7 → VII in Bbm): VI → VII — the rising step that heads for the tonic. The final chord is Bbm; the ear comes to rest in Bbm.
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.
Kendimden Hallice - Düştüm Esarete 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: Ozan ÖzalpMusic: Ozan Özalp
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