Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Bilal Sonses - Dönmüş Devran - Chord
Key Gb major – Eb minor Chords Bbm7, Abm7, Ebm7, Bmaj7 Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
Ebm7 Bbm7 Abm7 Bbm7
Ebm7 Bbm7
Dönmüş devran, yazılmış ferman
Abm7 Bbm7
Senle artık yolun sonundayız
Ebm7 Bbm7
Sendin sevdam, yazmamış mevlam
Abm7 Bbm7
Artık ben de kendi yolumdayım
Ebm7
Bir rüya gibiydi herşey senle
Bbm7
Ama şimdi bitmiyor kasvetim
Abm7
Çabam hep boşa yok yere nafile
Bbm7
Oysa sen öksüzdün ben yetim
Ebm7
Karalıyor beni bak bütün olanlar
Bbm7
Lazım kaç şahit kaç kefil
Abm7
Sen tuttun ellerimi son anda
Bbm7 Bmaj7
Sensiz ben yoksun, ben sefil
Bmaj7 Bbm7
İyiye gitmiyor halim
Abm7
Korkma say hadi galip
Bbm7
Tüm savaşlarını
Ebm7 Bbm7
Dönmüş devran, yazılmış ferman
Abm7 Bbm7
Senle artık yolun sonundayız
Ebm7 Bbm7
Sendin sevdam, yazmamış mevlam
Abm7 Bbm7
Artık ben de kendi yolumdayım
End of song Play again?
Bilal Sonses - Dönmüş Devran Tabs
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Harmony analysis
Bilal Sonses – Dönmüş Devran: key and chord analysis
The song opens on Ebm7 and ends on Bbm7. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because it opens on Ebm and Ebm is heard 7 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | — |
| ii7 | Abm7 | Supertonic — prepares the dominant | Ab · Cb · Eb · Gb | 8× |
| iii7 | Bbm7 | Mediant — a tonic-family shade | Bb · Db · F · Ab | 16× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IVmaj7 | Bmaj7 | Subdominant — moves away from home | B · D# · F# · A# | 2× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | — |
| vi7 | Ebm7 | Relative minor — the melancholy side | Eb · Gb · Bb · Db | 7× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Ebm7 | Tonic — home | Eb · Gb · Bb · Db | 7× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv7 | Abm7 | Subdominant — moves away from home | Ab · Cb · Eb · Gb | 8× |
| v7 | Bbm7 | Minor dominant — soft pull | Bb · Db · F · Ab | 16× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VImaj7 | Bmaj7 | Submediant — warm colour | B · D# · F# · A# | 2× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | — |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 33 times in total; 4 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
- Bbm7 Ebm7 Gbiii7 → vi7 Ebmv7 → i7natural-minor cadence ×6
The move to watch is Bbm7 → Ebm7, heard 6 times. From the Ebm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Gb side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Abm7, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over Ebm7, 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening Ebm7 lays a solid floor for everything that follows. Bbm7, Abm7, Ebm7, Bmaj7 carry the song: iii7–ii7–vi7–IVmaj7 relative to Gb, v7–iv7–i7–VImaj7 relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Ebm7 (iii7 → vi7 in Gb, v7 → i7 in Ebm): natural-minor cadence — gentle, modal arrival. It closes on Bbm7, letting the Gb 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.
Bilal Sonses - Dönmüş Devran 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: Bilal SonsesMusic: Bilal SonsesArrangement: Bilal Sonses
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