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)
Dicle Olcay - Beni Acımadan Vurdular - Chord
Key Db major – Bb minor Chords Ab, Bbm, Ebm, Gbmaj7, Fm Easy key C (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Db | A#m | Bbm
Capo: 0
Gbmaj7 Bbm Ab
Gbmaj7 Bbm
Derin derin nefesler alıyor ruhum
Ab Gbmaj7
Kaybolup duruyorum da ben
Bbm
Hangi sokakta, ben nerede durdum
Ab
Bilmiyorum
Gbmaj7
Kendine sakla, uymuyo' akla
Bbm Ab Fm
Ve aşk bize yakışmıyo' asla
Ebm
Ne söylesen kalbim geri dönmüyo'
Bbm Ab Ebm
Beni acımadan vurdular, ne çok oldular
Ab
Yine yordular tende
Bbm Ab Ebm
Daha yaralayan sayfalar yazdılar
Ab
Okunmadı bende
Bbm Ab Ebm Ebm
Bbm Ab Ebm
Beni acımadan vurdular, ne çok oldular
Ab
Yine yordular tende
Bbm Ab Ebm
Daha yaralayan sayfalar yazdılar
Ab
Okunmadı bende
End of song Play again?
Dicle Olcay - Beni Acımadan Vurdular Tabs
NotesX
Harmony analysis
Dicle Olcay – Beni Acımadan Vurdular: key and chord analysis
The song opens on Gbmaj7 and ends on Ab. 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 Bbm is heard 9 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 | 7× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 1× |
| 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 | 4× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 13× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 9× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 9× |
| 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 | 7× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 1× |
| 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 | 4× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 13× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 34 times in total; 5 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 Bbm DbIVmaj7 → vi BbmVImaj7 → iVI → i ×4
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×4
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×3
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
The move to watch is Gbmaj7 → Bbm, heard 4 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 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.
- 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 backbone is Ab, Bbm, Ebm, Gbmaj7 — V–vi–ii–IVmaj7 from the Db side, VII–i–iv–VImaj7 from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gbmaj7 → Bbm (IVmaj7 → vi in Db, VImaj7 → i in Bbm): VI → i — falls a half step into home. The final chord is Ab; 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.
Dicle Olcay - Beni Acımadan Vurdular 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Mert Carim - Mert BaşoğluMusic: Mert Carim - Mert BaşoğluArrangement: Aerro
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.