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)
Derya Uluğ - Ne Münasebet - Chord
Key Db major – Bb minor Chords Bbm, Abm, Db, Eb, Ebm Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
Bbm
Saf kibirden ibaret, dilindeki her cümle
Bbm Db Eb Bbm Db Eb
Bbm
Kaf dağından misafir, kabul etmiyor bünye
Bbm Db Eb Bbm Db Eb
Abm
Anlamsız cesaret bir güven var yüzünde
Db Ebm Abm Bbm
İstemeyen misafir kabul etmiyor bünye
Abm Bbm Abm Bbm
Göz pınarlarında yalancı rutubet
Abm Bbm Db Abm
Barışmaya gelmişmiş ne münasebet
Abm Bbm Abm Bbm
Ateşkes istiyormuş ayrı kalmaya doymuş
Abm Bbm Db Abm
Bir özür bekliyormuş ne münasebet
End of song Play again?
Derya Uluğ - Ne Münasebet Tabs
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Harmony analysis
Derya Uluğ – Ne Münasebet: key and chord analysis
The song opens on Bbm and ends on Abm. 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 it opens on Bbm and Bbm is heard 13 times against 7 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Db | Tonic — home | Db · F · Ab | 7× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 1× |
| V/V | Eb | Secondary dominant V/V — leads to Absecondary dominant | Eb · G · Bb | 4× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | — |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| v | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 10× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 13× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 13× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | 7× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 1× |
| IV | Eb | Major IV — Dorian / melodic-minor colourmodal colour | Eb · G · Bb | 4× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | — |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
| vii | Abm | Chromatic colour chordoutside the key | Ab · Cb · Eb | 10× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 35 times in total; 3 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.
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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Abm, land on Ab, Cb, Eb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — 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
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. The backbone is Bbm, Abm, Db, Eb — vi–v–I–V/V from the Db side, i–vii–III–IV from the Bbm side. Eb adds a moment of surprise: secondary dominant V/V — leads to Ab. It closes on Abm, 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.
Derya Uluğ - Ne Münasebet 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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