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)
İlyas Yalçıntaş - Dönebilsen - Chord
Key Db major – Bb minor Chords Gb, Fm, Ab, Bbm, Ebm, C#, Bb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Ab Gb Ab Gb
Ab Gb Fm
Nerede yitirdiğim o deli rüzgar
Ab Gb Fm
Hangi şehir ki bu, bu senden kalan
Ebm Bbm
Bu ben ben miyim?
Gb Ebm Fm
Ya bu sen misin terk edip giden
Ebm Bbm
Düzen tutmamış
Gb Ebm Fm
Yaralar sarmamış zaman
Bbm
Sadece sen
Bb Fm
Hani sevgin dokunur ruhuma
Gb C#
Yalan aşklar anlayamaz ama
Bbm Fm
Geceyi vurur yarınlar yine
Gb Ab
Sen dönebilsen
Bbm Fm Gb C# Bbm Fm Gb Ab
End of song Play again?
İlyas Yalçıntaş - Dönebilsen Tabs
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Harmony analysis
İlyas Yalçıntaş – Dönebilsen: key and chord analysis
The song opens on Ab and ends on Ab. 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 6 times against 2 for Db. 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 | C# | Tonic — home | C# · E# · G# | 2× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 4× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 8× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 10× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 6× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 6× |
| V/ii | Bb | Secondary dominant V/ii — leads to Ebmsecondary dominant | Bb · 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 | 6× |
| V/iv | Bb | Secondary dominant V/iv — leads to Ebmsecondary dominant | Bb · D · F | 1× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | C# | Relative major — the bright side | C# · E# · G# | 2× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 4× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 8× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 10× |
| 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). 7 different chords appear 37 times in total; 6 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
- Gb C# DbIV → Iplagal cadence BbmVI → III ×2
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×1
The move to watch is Gb → Ab, heard 4 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). 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 Gb, land on Gb, Bb, Db — 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 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Ab lays a solid floor for everything that follows. The backbone is Gb, Fm, Ab, Bbm — IV–iii–V–vi from the Db side, VI–v–VII–i from the Bbm side. Bb adds a moment of surprise: secondary dominant V/ii — leads to Ebm. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. It closes on Ab, 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.
İlyas Yalçıntaş - Dönebilsen 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: Göksel AktaşMusic: Göksel Aktaş
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