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)
Ece Seçkin - Follow Me - Chord
Key Db major – Bb minor Chords Fm, Cm, Bbm, Db, Eb Easy key F
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Key: Db | A#m | Bbm
Capo: 0
Fm Cm
Senin için yaptığım onca şeyden sonra
Bbm Cm
Hiç mi görmedin beni hiç mi sormadın ona buna
Fm Cm
Umurunda mıyım bari bir haber yolla
Bbm Cm
Ağırdan mı alalım istiyorsun bence okay uyar bana
Fm Db Bbm
Al seninim al yanına sımsıcak kollarına
Cm Fm
Gitmeyeceksin gibi sanki dursun dünya
Db Bbm
Yakını görmedim açık hadi uzakta durma durma
Cm Fm
Geçen günlere yazık üzülürsün sonra
Fm Cm
Follow me follow me aşk benle burda
Eb Fm
Şeker mi şeker tadı var dudaklarımda
Fm Cm
Follow me follow me aşk nerede burda
Eb Fm
Gör bak benle olursan her şey tıkırında
End of song Play again?
Ece Seçkin - Follow Me Tabs
NotesX
Harmony analysis
Ece Seçkin – Follow Me: key and chord analysis
The song opens on Fm and ends on Fm. 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 4 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 | Db | Tonic — home | Db · F · Ab | 2× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| II | Eb | Chromatic colour chordoutside the key | Eb · G · Bb | 2× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 9× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 4× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| vii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 4× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| ii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 8× |
| III | Db | Relative major — the bright side | Db · F · Ab | 2× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| IV | Eb | Major IV — Dorian / melodic-minor colourmodal colour | Eb · G · Bb | 2× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 9× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 25 times in total; 3 of them sit naturally inside the shared scale. Cm, Eb step outside the scale as colour chords.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The backbone is Fm, Cm, Bbm, Db — iii–vii–vi–I from the Db side, v–ii–i–III from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Fm, 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.
Ece Seçkin - Follow Me 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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