Derya Uluğ - Nabız 180 - Chord

Key Db major – Bb minor Chords Fm, Ebm, Gb, Ab Easy key C (capo 1)

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Capo 0

     Ebm      Fm          Ebm        Fm
Yüreğimde bir acı, geldi geçmiyor neden
   Ab            Gb           Fm            Ebm
Kalbimde bir migren, hiç bir şey kesmiyor neden
    Ebm         Fm              Ebm          Fm
Eller nasıl da mutlu ya da ne güzel rol yapıyor
     Ab          Gb              Fm         Ebm
Eskiden böyle miydim, gören bile halime ağlıyor

        Gb       Fm          Gb
Bir çarpıntı sürekli nabız oldu 180
       Ebm          Fm      Gb    
Gitti gidiyorum galiba sebebi de kalpten

    Fm                   Ebm
Ölüyorum anlasana, daha da vurmasana
    Fm                      Ebm  Fm  Gb
Vicdanın sızlasa da geri dönsen mi bana

End of song Play again?

Derya Uluğ - Nabız 180 Tabs

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Harmony analysis

Derya Uluğ – Nabız 180: key and chord analysis

The song opens on Ebm and ends on Gb. 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: 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.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	9×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	11×
III	F	Chromatic colour chordoutside the key	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	6×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	2×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	—
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
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	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	9×
v	Fm	Minor dominant — soft pull	F · Ab · C	11×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	6×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	2×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 28 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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
1 semitone up

The song's harmonic story

The opening Ebm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Ebm, Gb, Ab; read them as iii–ii–IV–V in Db or v–iv–VI–VII in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Gb, letting the Db 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.