Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Birsen Tezer - Delikanlı - Chord
Key Bb major – G minor Chords Bb, Cm7, Ab, D#, Gm, Fm Easy key D
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Key: Bb | Gm
Capo: 0
Cm7 Bb Cm7 Bb Kafam bozuk gönlüm soluk Cm7 Bb Ab Cm7 Dilim donuk bu dümende Cm7 Bb Cm7 Bb Saçım ağarır yaşım bağırır Cm7 Bb Ab Cm7 Yaşam daralır bu dümende D# Bb Gm Aşkı için ölecek D# Bb Fm Nerde kaldı öyle yürek D# Bb Gm Delikanlı yoruldu Ab Fm Bb Cm7 Bir o yana bir bu yana, sararıp soldu Cm7 Bb Cm7 Bb Hakkım kalır, helal bağırır Cm7 Bb Ab Cm7 Nazım çalınır, bu dümende Cm7 Bb Cm7 Bb Saçım ağarır yaşım bağırır Cm7 Bb Ab Cm7 Yaşam daralır bu dümende D# Bb Gm Aklı selim bahaneler D# Bb Fm Daha ne durur haneler D# Bb Gm Delikanlı yoruldu Ab Fm Bb Cm7 Bir o yana bir bu yana sararıp soldu Cm7 Bb Cm7 Bb Kafam bozuk gönlüm soluk Cm7 Bb Ab Cm7 Dilim donuk bu dümende
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Birsen Tezer - Delikanlı Tabs
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Harmony analysis
Birsen Tezer – Delikanlı: key and chord analysis
The song opens on Cm7 and ends on Cm7. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb major side because Bb is heard 23 times against 4 for Gm. That is an interpretation, not a rule — hearing the same chords from G minor is just as valid and teaches you something different.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | 23× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 22× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | D# | Subdominant — moves away from home | D# · G · A# | 6× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| v | Fm | Chromatic colour chordoutside the key | F · Ab · C | 4× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| bVII | Ab | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Ab · C · Eb | 7× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| bII | Ab | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Ab · C · Eb | 7× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | 23× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 22× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | D# | Submediant — warm colour | D# · G · A# | 6× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
| vii | Fm | Chromatic colour chordoutside the key | F · Ab · C | 4× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 66 times in total; 4 of them sit naturally inside the shared scale. Ab is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- D# Bb BbIV → Iplagal cadence GmVI → III ×6
The move to watch is D# → Bb, heard 6 times. From the Bb side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Gm side it is VI → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — 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.
- On Ab, follow the chord's notes (Ab · C · Eb) rather than the key's scale — it's a borrowed colour.
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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Cm7 lays a solid floor for everything that follows. The chords that keep coming back are Bb, Cm7, Ab, D#; read them as I–ii7–bVII–IV in Bb or III–iv7–bII–VI in Gm. Ab briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on D# → Bb (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. The final chord is Cm7; the ear comes to rest in Bb.
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.
Birsen Tezer - Delikanlı 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: Zafer CınbılMusic: Zafer Cınbıl
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