Berkay - Dejavu - Chord

Key Gb major – Eb minor Chords B, Bbm, Abm, Db Easy key G

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Capo 0

Bbm             Abm
Bu zincirin halkası
 Db          B
Kırıldı yavaş yavaş
Bbm             Abm
Yok mu yarını arkası
Db           B
Sürer mi soğuk savaş
B                   Abm
Bunu da kaldıramaz yüreğim
B                 Bbm
Şimdi işin yoksa uğraş

Bbm         Abm
Bence salla bundan sonra,
Db            B
Ne fark eder o ya da bu
Bbm             Abm
Hep aynı sahne hep aynı perde
Db               B
Sanki aşkta dejavu

End of song Play again?

Berkay - Dejavu Tabs

NotesX

Harmony analysis

Berkay – Dejavu: key and chord analysis

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

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)

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: we can't honestly pick a side here — the song moves freely between Gb major and Eb minor. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from Gb major
Degree	Chord	Role	Notes	In song
I	Gb	Tonic — home	Gb · Bb · Db	—
ii	Abm	Supertonic — prepares the dominant	Ab · Cb · Eb	5×
iii	Bbm	Mediant — a tonic-family shade	Bb · Db · F	5×
III	Bb	Chromatic colour chordoutside the key	Bb · D · F	—
IV	B	Subdominant — moves away from home	B · D# · F#	6×
V	Db	Dominant — strongest pull home	Db · F · Ab	4×
vi	Ebm	Relative minor — the melancholy side	Eb · Gb · Bb	—
vii°	Fdim	Leading-tone chord — tension	F · Ab · Cb	—

Seen from Eb minor
Degree	Chord	Role	Notes	In song
i	Ebm	Tonic — home	Eb · Gb · Bb	—
ii°	Fdim	Supertonic — prepares the dominant	F · Ab · Cb	—
III	Gb	Relative major — the bright side	Gb · Bb · Db	—
iv	Abm	Subdominant — moves away from home	Ab · Cb · Eb	5×
v	Bbm	Minor dominant — soft pull	Bb · Db · F	5×
V	Bb	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	Bb · D · F	—
VI	B	Submediant — warm colour	B · D# · F#	6×
VII	Db	Subtonic — steps back to the tonic	Db · F · Ab	4×

Analysis

The key pair is Gb major and its relative Eb minor (6 flats). 4 different chords appear 20 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

Abm Db Gbii → Vii → V Ebmiv → VII ×4

The move to watch is Abm → Db, heard 4 times. From the Gb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Ebm side it is iv → VII. 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 B, land on B, D#, F# — 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.
Over Abm, land on Ab, Cb, 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 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

1 semitone up
4 semitones down · capo 4 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 B, Bbm, Abm, Db; read them as IV–iii–ii–V in Gb or VI–v–iv–VII in Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Abm → Db (ii → V in Gb, iv → VII in Ebm): ii → V — the classic preparation of the dominant. It closes on B, 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.