Nova Norda - Yaktım Ah Bu Defteri - Chord

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

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Capo 0

             Fm                    Gbmaj7
Yaktım ah bu defteri ve var bi nedenim
        Fm                     Gbmaj7
Hatıralarım tüter ve hepsi öfkeli
              Fm            Gbmaj7
Bu yaptığın kadar üzmedi beni
           F    Gbmaj7
Hiçbi sevgiliiiiiii

           Fm                   Gbmaj7
Aylar boyu gözlerime baktı gözlerin
          Fm                       Gbmaj7
Aldatıp nasıl da geldin öptün ya beni?
             Fm                  Gbmaj7
O yattığın yatakta, ruh bu, pislenir
              F  Gbmaj7
Huzur senin değiiiil

Bbm                Fm
Sevmiştim derinden, en masum yerinden
Gbmaj7               F
Hiç seni incittim mi ben?

           Fm                        Gbmaj7
Yalvarırdı gözlerim, bu sakladığın nedir?
           Fm                      Gbmaj7
Kaç kere dedim, bu kalp emanetin senin!
           Fm                  Gbmaj7
Hançerin yakar, çıkar bak hepsini
          F  Gbmaj7
Acı içindeyiiiim

           Fm                     Gbmaj7
Anladım ki farkı yok sana yazın kışın
           Fm                     Gbmaj7
Toprağında tek biten zehirli sarmaşık
         Fm               Gbmaj7
Nafile çaban, ömür boyu artık
              F   Gbmaj7
Bahar senin değiiiil

Bbm                Fm
Sevmiştim derinden, en masum yerinden
Gbmaj7               F
Hiç seni incittim mi ben?

Bbm
Gözyaşım, yedirmem!
Fm
Üzgünmüş, dedirmem!
Gbmaj7              F
Sevgimi hak etmedin sen

          Fm                     Gbmaj7
Anlamam nasıl ben anmasam da ismini
           Fm                     Gbmaj7
O aynaya bakar da affeder ki resmini?
      Fm                   Gbmaj7
Utanmadan öyle saf bi sevginin
       F   Gbmaj7
Ahını alaaaaaan

End of song Play again?

Nova Norda - Yaktım Ah Bu Defteri Tabs

NotesX

Harmony analysis

Nova Norda – Yaktım Ah Bu Defteri: key and chord analysis

The song opens on Fm and ends on Gbmaj7. 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)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 3 times while Db never appears and the major V chord points straight at Bbm. 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	—
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	18×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	8×
IVmaj7	Gbmaj7	Subdominant — moves away from home	Gb · Bb · Db · F	23×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	—
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	3×
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	3×
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	18×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	8×
VImaj7	Gbmaj7	Submediant — warm colour	Gb · Bb · Db · F	23×
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 52 times in total; 3 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm.

Chord movement

Gbmaj7 Bbm DbIVmaj7 → vi BbmVImaj7 → iVI → i ×2
F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×1

The move to watch is Gbmaj7 → Bbm, heard 2 times. From the Bbm side it is VImaj7 → i (VI → i: falls a half step into home); from the Db side it reads IVmaj7 → 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 Gbmaj7, 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.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

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
4 semitones up

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. Gbmaj7, Fm, F, Bbm carry the song: IVmaj7–iii–V/vi–vi relative to Db, VImaj7–v–V–i relative to Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gbmaj7 → Bbm (IVmaj7 → vi in Db, VImaj7 → i in Bbm): VI → i — falls a half step into home. Ending on Gbmaj7, 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.