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)
Orhan Ölmez - Kabullendim - Chord
Key Db major – Bb minor Chords Fm, G#, F#, D#m Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
F# Ne yapsam da ne etsem de Fm Alamadım kalbim sende D#m G# Fm Yollar ve de yıllar şahit Fm Zorla güzellik olmazmış D#m Anladım sonunda ben de G# F# G# Fm Kabullendim zor olsa bile F# Asla yüzüm gülmez dedim Fm Başkasını sevemezdim D#m G# Fm Kalbime bir başkası sahip Fm Olanlar sebepsiz değil D#m Vardır elbet bir nedeni G# F# Fm Kabullendim hadi sende F# Ben hiç ah etmezdim Fm Umudumu yitirmezdim D#m G# Bu seferlik kabullendim F# Asla yetinmezdim Fm Birçok şeye göğüs gerdim D#m G# Bu seferlik kabullendim
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Orhan Ölmez - Kabullendim Tabs
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Harmony analysis
Orhan Ölmez – Kabullendim: key and chord analysis
The song opens on F# and ends on G#. 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: we can't honestly pick a side here — the song moves freely between Db major and Bb 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 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 | — |
| ii | D#m | Supertonic — prepares the dominant | D# · F# · A# | 6× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 10× |
| III | F | Chromatic colour chordoutside the key | F · A · C | — |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 6× |
| V | G# | Dominant — strongest pull home | G# · B# · D# | 7× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | — |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | — |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | D#m | Subdominant — moves away from home | D# · F# · A# | 6× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 10× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | F# | Submediant — warm colour | F# · A# · C# | 6× |
| VII | G# | Subtonic — steps back to the tonic | G# · B# · D# | 7× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 29 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
- D#m G# Dbii → Vii → V Bbmiv → VII ×6
- F# G# DbIV → VIV → V BbmVI → VIIVI → VII ×1
The move to watch is D#m → G#, heard 6 times. From the Db side it reads ii → V (ii → V: the classic preparation of the dominant); from the Bbm side it is iv → VII. 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 Fm, land on F, Ab, C — 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 F#, land on F#, A#, C# — 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
- 1 semitone up
The song's harmonic story
Starting on F#, the song gives away its key from the very first bar. The chords that keep coming back are Fm, G#, F#, D#m; read them as iii–V–IV–ii in Db or v–VII–VI–iv 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. Ending on G#, 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.
Orhan Ölmez - Kabullendim 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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