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)
Ferhat Göçer - Yalnızlığın Ezgisi - Chord
Key Db major – Bb minor Chords Fm, Ebm, Gb, Ab, Bbm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Ebm Fm Gb
Fm Ebm Fm Ebm Fm
Fm Gb Fm
Bir sen, bir sigaram var üstüme sinen
Ebm Fm
İkiniz de birbirinizden beter
Gb Ab Ebm Fm
Kalabalık, uzun bir caddede tutmuşum yalnızlığın elinden
Fm Gb Fm
Bilen varsa konuşsun şu ayrılığın dilinden
Ebm Fm
Kurutsun kökünden elinden gelen
Gb Ab Ebm Fm
Ki sen gittin ezgisi kaldı bu aşkın puslu sesinden
Ebm Fm Bbm
Bir gece uyanıp aniden, kan ter içinde, fırlayıp yerinden
Ebm Fm Gb
Bırak damlasın gözünden içinden gelenler
Bbm Ab Gb Ab Bbm
Sen gel geceleri bir de bana sor, özlemek inan yaşamaktan daha zor
Ebm Fm Ab Ebm Fm
Yolculuk var, toplandılar, hatıralar zoruma gidiyor
Bbm Ab Gb Ab Ebm Fm
Sen gel geceleri bir de bana sor, özlemek inan yaşamaktan daha zor
Bbm Ebm Fm Ab Ebm Fm
Yolculuk var, toplandılar, hatıralar zoruma gidiyor
End of song Play again?
Ferhat Göçer - Yalnızlığın Ezgisi Tabs
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Harmony analysis
Ferhat Göçer – Yalnızlığın Ezgisi: 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 5 times while Db never appears. 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 | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 14× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 20× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 8× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 5× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 5× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 14× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 20× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 8× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 55 times in total; 5 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
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×4
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×3
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×1
- Gb Bbm DbIV → vi BbmVI → iVI → i ×1
The move to watch is Gb → Ab, heard 4 times. From the Bbm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Db side it reads IV → V (IV → V: the lift that builds tension before home). 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 Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Gb, land on Gb, Bb, Db — 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 opening Fm lays a solid floor for everything that follows. Fm, Ebm, Gb, Ab carry the song: iii–ii–IV–V relative to Db, v–iv–VI–VII relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Ab (IV → V in Db, VI → VII in Bbm): VI → VII — the rising step that heads for the tonic. The final chord is Fm; 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.
Ferhat Göçer - Yalnızlığın Ezgisi 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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