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)
Shawty - Yorgun Mermi x MEF - Chord
Key Db major – Bb minor Chords Bbm, Fm, Ebm, Bm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Fm Ebm
Bbm Fm Ebm
Nasılda bakıyosun üzerime kaldı bu cinayet cinayet
Bbm Fm Ebm
Öldürdün kaç kere yerini bulmadı adalet adalet
Bbm Fm
Bir daha vur, kurban olur bu gönül
Ebm Bbm
Yapma gurur bir daha, istersen herşey olur
Bbm Fm Ebm
Gel bir yorgun mermi gibi ol ve düş şu yüreğime
Fm Ebm
Artık beni öldür, artık beni öldür
Bbm Bm Fm Ebm Bbm Bbm Fm Ebm
Bbm Fm
Neyine kandı gönül ben inanmıyorum
Ebm Bbm
Sensiz geçen günümü ben unutmuyorum
Fm Ebm
Seni bana yazdı kader ödedim bedel düşünmeden
Bbm Fm
Bir daha vur, kurban olur bu gönül
Ebm Bbm
Yapma gurur bir daha, istersen herşey olur
Bbm Fm Ebm
Gel bir yorgun mermi gibi ol ve düş şu yüreğime
Fm Ebm
Artık beni öldür, artık beni öldür
End of song Play again?
Shawty - Yorgun Mermi x MEF Tabs
NotesX
Harmony analysis
Shawty – Yorgun Mermi x MEF: key and chord analysis
The song opens on Bbm and ends on Ebm. 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 opens on Bbm and Bbm is heard 14 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 | 13× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 13× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 14× |
| bvii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 14× |
| bii | Bm | Chromatic colour chordoutside the key | B · D · F# | 1× |
| 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 | 13× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 13× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| 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 41 times in total; 3 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.
Chord movement
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×10
The move to watch is Ebm → Bbm, heard 10 times. 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 Bbm, land on Bb, Db, F — 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 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 opening Bbm lays a solid floor for everything that follows. Bbm, Fm, Ebm, Bm carry the song: vi–iii–ii–bvii relative to Db, i–v–iv–bii relative to 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. It closes on Ebm, letting the Db side have the last word.
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.
Shawty - Yorgun Mermi x MEF 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: Ayaz Erdoğan , Shawty , MEFMusic: Ayaz Erdoğan , Shawty , MEFArrangement: Murat Gençay
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