Ajda Pekkan - Eğlen Güzelim - Chord

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

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Capo 0

Bbm                 Gb
Düşün düşün aşamıyorum engelleri
         Fm      Ebm        Bbm
Varamıyorum yanına çarelerin
Bbm                    Gb
Yıkıl duvar göremiyorum enginleri
         Fm       Ebm      Bbm
Gidemiyorum bırakıp uzaklara

         Bbm          Ebm
Bir ağlarım bir gülerim
         Ab            Gb
Sanma senden vazgeçerim
           Ebm   C       F
Alışamam inan      yokluğuna

Bbm
Eğlen güzelim gününü gün et
Ebm
Ben vazgeçmişken eğlen
Ab
Karaları ben bağlarım
Fm           F
Sende vakit çok erken

End of song Play again?

Ajda Pekkan - Eğlen Güzelim Tabs

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Harmony analysis

Ajda Pekkan – Eğlen Güzelim: key and chord analysis

The song opens on Bbm and ends on F. 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)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm, Bbm is heard 6 times while Db never appears and the major V chord points straight at Bbm. 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	5×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	3×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	2×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	3×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	2×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
V/iii	C	Secondary dominant V/iii — leads to Fmsecondary dominant	C · E · G	1×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
V/v	C	Secondary dominant V/v — leads to Fmsecondary dominant	C · E · G	1×
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	5×
v	Fm	Minor dominant — soft pull	F · Ab · C	3×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	2×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	3×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	2×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 22 times in total; 5 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
Ebm Ab Dbii → Vii → V Bbmiv → VII ×2
F Bbm DbV/vi → vi BbmV → iharmonic-minor cadence ×1

The move to watch is Ebm → Bbm, heard 2 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → vi. 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ebm, land on Eb, Gb, Bb — 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.
When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

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 Bbm, the song gives away its key from the very first bar. The chords that keep coming back are Bbm, Ebm, Gb, Fm; read them as vi–ii–IV–iii in Db or i–iv–VI–v in Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Ebm → Bbm (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. Ending on F, 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.