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)
Rıza Tamer - Namussuz Şerefsiz - Chord
Key Db major – Bb minor Chords Fm7, Bbm7, Ab, Ebm7, Gbmaj7, Cdim Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm7 Fm7 Bbm7 Bbm7 Gbmaj7 Ab Ebm7 Fm7
Fm7 Bbm7 Fm7
Yeni bi' hayata başlıyorum ben
Gbmaj7
Sana artık gerçekten yüzümü döndüm
Bbm7 Ab
Senin alevinde çok yanıp söndüm
Ebm7 Fm7
Artık hatalarımdan geriye döndüm
Gbmaj7
Şu an yerimde olsan
Ab
Önüne bi' kadeh koysan
Ebm7 Cdim Fm7
Açık açık kalbini huzurlarına satsam
Fm7
Namussuz, şerefsiz, haysiyetsizim
Bbm7
Ahlaktan yoksunum, iyi niyetsizim
Ab
Hiçbi' suçu yok mu beni düşüren
Ebm7 Fm7
Sonucu olmayan o sebepsizin?
Gbmaj7 Ab
Hiçbi' suçu yok mu beni düşüren
Ebm7 Fm7
Sonucu olmayan o sebepsizin?
Fm7 Fm7 Bbm7 Bbm7 Gbmaj7 Ab Ebm7 Fm7
End of song Play again?
Rıza Tamer - Namussuz Şerefsiz Tabs
NotesX
Harmony analysis
Rıza Tamer – Namussuz Şerefsiz: key and chord analysis
The song opens on Fm7 and ends on Fm7. 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 7 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 | — |
| ii7 | Ebm7 | Supertonic — prepares the dominant | Eb · Gb · Bb · Db | 6× |
| iii7 | Fm7 | Mediant — a tonic-family shade | F · Ab · C · Eb | 13× |
| 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 | 5× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 6× |
| vi7 | Bbm7 | Relative minor — the melancholy side | Bb · Db · F · Ab | 7× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Bbm7 | Tonic — home | Bb · Db · F · Ab | 7× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | 1× |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv7 | Ebm7 | Subdominant — moves away from home | Eb · Gb · Bb · Db | 6× |
| v7 | Fm7 | Minor dominant — soft pull | F · Ab · C · Eb | 13× |
| 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 | 5× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 6× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 38 times in total; 6 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
- Fm7 Bbm7 Dbiii7 → vi7 Bbmv7 → i7natural-minor cadence ×4
- Gbmaj7 Ab DbIVmaj7 → VIV → V BbmVImaj7 → VIIVI → VII ×4
- Gbmaj7 Bbm7 DbIVmaj7 → vi7 BbmVImaj7 → i7VI → i ×1
The move to watch is Fm7 → Bbm7, heard 4 times. From the Bbm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii7 → 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 Bbm7, 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.
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 Fm7; the ear learns where home is within a second. The chords that keep coming back are Fm7, Bbm7, Ab, Ebm7; read them as iii7–vi7–V–ii7 in Db or v7–i7–VII–iv7 in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm7 → Bbm7 (iii7 → vi7 in Db, v7 → i7 in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Fm7, 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.
Rıza Tamer - Namussuz Şerefsiz 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: Rıza TamerMusic: Rıza TamerArrangement: Alper Atakan
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