Tekir - Bu da mı Değil - Chord

Key Db major – Bb minor Chords Fm, Gb, Ab, Ebm, Db Easy key C (capo 1)

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Capo 0

Fm  Gb  Fm  Gb  Fm  Gb  Ab  Ebm  Db

Fm                    Gb
İntihara davet mi bu? Tebessümün benzer zorlu tuzaklara
Fm                     Gb
Bu diyara kasvet olur; çekip gitmen bir an olsun uzaklara
Fm                           Gb
Sevdiğim, adalet mi bu? Seni onlar sildi, ben sevdim; ve beni vurdun
     Ab             Ebm            Db
Bıraksaydın, ben sevseydim, sen yeltenme, sevmek sana zahmet olur

Fm                     Gb
Rahmet mi lanet mi bu? Bir türlü gitmez yüzün ezberimden
Fm                   Gb
Yine senin suçun bu; içmediysem şu rakıyı gözlerinden
Fm                    Gb
Yüreğim metanet dolu; korur onu sevgim, yem etmez inatla ecele
Ab           Ebm            Db
Zor geceler, yitik heceler, bu yıkımla geride bir ben kaldım

Fm
Sadakat yazılmamış bir yasaydı, gayrısın
Gb
Olur muydu hiç şiirler; olmasaydı ayrılık
Fm
Sevdanın eksisin, ihanetin artısı
Gb
Şimdilerde yüzün; başka rüyaların arsızı

Fm
Canım biraz ölüm çekti; haydi gül
Gb
Yanım sana dar gelmesin, özgürsün; artık git
Fm
Dünyam kara, ahiretim aydınlık
         Gb
Katilim; mezarıma bırak git bir mor sümbül

Fm
Senden uzak can pazarı kalbim, bak
Gb
İsterdim ki; bir kabrinde bensiz yat
     Ab            Ebm
Bana ait işittiğin her ah
          Db
Al canımı kana ban
x2

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Tekir - Bu da mı Değil Tabs

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Harmony analysis

Tekir – Bu da mı Değil: key and chord analysis

The song opens on Fm and ends on Db. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

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)

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 Db major side because it comes to rest on Db and Db is heard 4 times while Bbm never appears. That is an interpretation, not a rule — hearing the same chords from Bb minor is just as valid and teaches you something different.

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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	4×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	4×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	14×
III	F	Chromatic colour chordoutside the key	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	14×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	4×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	—
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	—
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	4×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	4×
v	Fm	Minor dominant — soft pull	F · Ab · C	14×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	14×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	4×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 40 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

Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4

The move to watch is Gb → Ab, heard 4 times. From the Db side it reads IV → V (IV → V: the lift that builds tension before home); from the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Gb, land on Gb, Bb, Db — 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
1 semitone up

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. The backbone is Fm, Gb, Ab, Ebm — iii–IV–V–ii from the Db side, v–VI–VII–iv from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): IV → V — the lift that builds tension before home. The final chord is Db; 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.