Mustafa Sandal - Jest Oldu - Chord

Key Db major – Bb minor Chords A#m, G#, D#m, Fm, C#, F# Easy key C (capo 1)

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Capo 0

A#m                 D#m
Ah sen ne güzel ne güzel gülüyorsun
G#                  A#m
Kız sen ne güzel ne güzel bakıyorsun
                 D#m
Karşında duramaz inan hiç kimse
G#                   A#m
Bakışlarınla sen herkesi görüyorsun
 
A#m                        D#m                    
O tatlı dilin güler yüzün inan ki yürek hoplatıyor
G#                     C#                   
Farkında değil misin herkes peşinden koşuyor
 
A#m               Fm   A#m           Fm     
Kız seni alan yaşadı dertlerini de boşadı
F#                  G#                      
Mest oldu vallahi jest oldu

End of song Play again?

Mustafa Sandal - Jest Oldu Tabs

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Harmony analysis

Mustafa Sandal – Jest Oldu: key and chord analysis

The song opens on A#m and ends on G#. 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 Bb minor side because it opens on Bbm and Bbm is heard 6 times against 1 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	C#	Tonic — home	C# · E# · G#	1×
ii	D#m	Supertonic — prepares the dominant	D# · F# · A#	3×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	2×
V/vi	F	Secondary dominant V/vi — leads to A#msecondary dominant	F · A · C	—
IV	F#	Subdominant — moves away from home	F# · A# · C#	1×
V	G#	Dominant — strongest pull home	G# · B# · D#	4×
vi	A#m	Relative minor — the melancholy side	A# · C# · E#	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	A#m	Tonic — home	A# · C# · E#	6×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	C#	Relative major — the bright side	C# · E# · G#	1×
iv	D#m	Subdominant — moves away from home	D# · F# · A#	3×
v	Fm	Minor dominant — soft pull	F · Ab · C	2×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	F#	Submediant — warm colour	F# · A# · C#	1×
VII	G#	Subtonic — steps back to the tonic	G# · B# · D#	4×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 17 times in total; 6 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

D#m G# Dbii → Vii → V Bbmiv → VII ×3
G# A#m DbV → videceptive cadence BbmVII → iAeolian arrival ×2
G# C# DbV → Iauthentic cadence BbmVII → III ×1
Fm A#m Dbiii → vi Bbmv → inatural-minor cadence ×1
F# G# DbIV → VIV → V BbmVI → VIIVI → VII ×1

The move to watch is D#m → G#, heard 3 times. From the Bbm side it is iv → VII; from the Db side it reads ii → V (ii → V: the classic preparation of the dominant). 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 A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
Over G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
Over D#m, land on D#, F#, A# — 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
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is A#m; the ear learns where home is within a second. The chords that keep coming back are A#m, G#, D#m, Fm; read them as vi–V–ii–iii in Db or i–VII–iv–v in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D#m → G# (ii → V in Db, iv → VII in Bbm): ii → V — the classic preparation of the dominant. The final chord is G#; 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.