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)
Funda Arar - Korkak - Chord
Key Db major – Bb minor Chords Fm7, Gbmaj7, Bbm7 Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm7 Gbmaj7 Bbm7 Fm7 Leyla'yım Mecnun'um yok Gbmaj7 Beni kim gördü, kim duydu Bbm7 Sabahsız gecelere mahkum Çığlıklarım boğuldu Fm7 Ah sen dert üstüne dert verdin Gbmaj7 Aşkımın katilisin Bbm7 Ben senden çoktan gittim, ah Fm7 Harabeye döndü dünya Gbmaj7 Aşkı gömdüm hiç bana bakma Bbm7 Nefesim kesildi yar Sen şeytana uyunca Fm7 Gbmaj7 Bbm7 Fm7 Korkaksın, saklayamazsın Gbmaj7 Dağ bile olsan duramazsın Bbm7 Sever gibi görünmeyi Söyle, nasıl başardın Fm7 Beni nefsine kurban ettin sen Gbmaj7 Bu benim kalbim, sana vermem Bbm7 Sonsuza dek kaybettin sen Fm7 Harabeye döndü dünya Gbmaj7 Aşkı gömdüm hiç bana bakma Bbm7 Nefesim kesildi yar
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Funda Arar - Korkak Tabs
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Harmony analysis
Funda Arar – Korkak: key and chord analysis
The song opens on Fm7 and ends on Bbm7. 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 8 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 | — |
| iii7 | Fm7 | Mediant — a tonic-family shade | F · Ab · C · Eb | 8× |
| 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 | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 8× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 8× |
| 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 | — |
| v7 | Fm7 | Minor dominant — soft pull | F · Ab · C · Eb | 8× |
| 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 | 8× |
| 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). 3 different chords appear 24 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 Bbm7 DbIVmaj7 → vi7 BbmVImaj7 → i7VI → i ×8
The move to watch is Gbmaj7 → Bbm7, heard 8 times. From the Bbm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the Db side it reads IVmaj7 → vi7. 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 Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- Over Bbm7, 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
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Fm7, the song gives away its key from the very first bar. The chords that keep coming back are Fm7, Gbmaj7, Bbm7; read them as iii7–IVmaj7–vi7 in Db or v7–VImaj7–i7 in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gbmaj7 → Bbm7 (IVmaj7 → vi7 in Db, VImaj7 → i7 in Bbm): VI → i — falls a half step into home. The final chord is Bbm7; 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.
Funda Arar - Korkak 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: Gülnur Badakal - Orjinal Söz: Mohamed ElbendaryMusic: Mohammed Shehata Mahmoud Ramadan SalehArrangement: Daniel Taşel
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