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)
Ayşen - Nerdesin Yaşar - Chord
Key Db major – Bb minor Chords Ebm, Bbm, Ab, Dbmaj7, Gbmaj7, F7, Gb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ebm Ab Dbmaj7 Gbmaj7 Ebm F7 Bbm Ebm Her şey boş bir rüya mıydı Ab Dbmaj7 Yoksa hepsi yalan mıydı Gbmaj7 Ebm Sen de gittin herkes gibi Gb F7 Sevmedin benim gibi demek ki Bbm Ebm Tam da aşka inanmıştım Ab Dbmaj7 Uykulardan uyanmıştım Gbmaj7 Ebm Sen çeldin benim aklımı Gb F7 Böyle kaybolmak var mıydı? Bbm Ebm Var mıydı böyle kaçmak, nerdesin Ab Dbmaj7 Var mıydı yoldan çıkmak, nerdesin Gbmaj7 Ebm Bir gün uzakta olsam, özlerdin Gb F7 Böyle mi oldu şimdi, nerdesin
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Ayşen - Nerdesin Yaşar Tabs
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Harmony analysis
Ayşen – Nerdesin Yaşar: key and chord analysis
The song opens on Bbm and ends on F7. 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)
- #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 it opens on Bbm 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Dbmaj7 | Tonic — home | Db · F · Ab · C | 4× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 8× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V7/vi | F7 | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C · Eb | 4× |
| IVmaj7 | Gbmaj7 | Subdominant — moves away from home | Gb · Bb · Db · F | 4× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 3× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 4× |
| 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 | — |
| IIImaj7 | Dbmaj7 | Relative major — the bright side | Db · F · Ab · C | 4× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 8× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V7 | F7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C · Eb | 4× |
| VImaj7 | Gbmaj7 | Submediant — warm colour | Gb · Bb · Db · F | 4× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 3× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 4× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 31 times in total; 6 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 F7 is V7/vi, a secondary dominant heading for Bbm.
Chord movement
- Ab Dbmaj7 DbV → Imaj7authentic cadence BbmVII → IIImaj7 ×4
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×4
- F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×3
- Ebm F7 Dbii → V7/vi Bbmiv → V7iv → V ×1
The move to watch is Ab → Dbmaj7, heard 4 times. From the Bbm side it is VII → IIImaj7; from the Db side it reads V → Imaj7 (authentic cadence: the strongest arrival 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 Ebm, land on Eb, Gb, Bb — 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.
- Over Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- When F7 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. The chords that keep coming back are Ebm, Bbm, Ab, Dbmaj7; read them as ii–vi–V–Imaj7 in Db or iv–i–VII–IIImaj7 in Bbm. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Ab → Dbmaj7 (V → Imaj7 in Db, VII → IIImaj7 in Bbm): authentic cadence — the strongest arrival home. The final chord is F7; the ear comes to rest in Db.
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.
Ayşen - Nerdesin Yaşar 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: Zeynep Talu, Massimiliano Moroldo, Natalie AartsMusic: Francesco Marchetti, Massimiliano MoroldoArrangement: Alper Atakan
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