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)
Ravi İncigöz - Şeker (Mustafa Ceceli) - Chord
Key Db major – Bb minor Chords Am, Bb, Gm, C, Dm Easy key Eb
No ratings yet
or your user informations
Make it yours
Text size
Key: Db | A#m | Bbm
Capo: 0
Dm Am Bb Gm C Bb Gm Am Am Bb Gm Am Elin elimdeyken en sihirli kilit Bb Hep mutluluğa açılır C Bb Essin dertler nerden eserse Gm Am Gülüşünle hepsi dağılır Dm Am Önce kalbime sonra evime Bb Gm Girdin ya nasıl mutluyum C Bb Şeker yapışmış sanki diline Gm Am Bu en tatlı şey duyduğum Am Bb Gm Am Hayat dediğin sanki kaç sene Bb Ama aşklar ölümsüzdür C Bb Senin aşkın benim aşkıma Gm Am Çok yakışacak bir ömür Dm Am Önce kalbime sonra evime Bb Gm Girdin ya nasıl mutluyum C Bb Şeker yapışmış sanki diline Gm Am Bu en tatlı şey duyduğum
End of song Play again?
Ravi İncigöz - Şeker (Mustafa Ceceli) Tabs
NotesX
Harmony analysis
Ravi İncigöz – Şeker (Mustafa Ceceli): key and chord analysis
The song opens on Dm and ends on Am. 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 | — |
| bii | Dm | Chromatic colour chordoutside the key | D · F · A | 3× |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | — |
| 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 | — |
| #iv | Gm | Chromatic colour chordoutside the key | G · Bb · D | 10× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| bvi | Am | Chromatic colour chordoutside the key | A · C · E | 12× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | — |
| VI | Bb | Chromatic colour chordoutside the key | Bb · D · F | 12× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| VII | C | Chromatic colour chordoutside the key | C · E · G | 5× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | — |
| I | Bb | Chromatic colour chordoutside the key | Bb · D · F | 12× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| II | C | Chromatic colour chordoutside the key | C · E · G | 5× |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| #iii | Dm | Chromatic colour chordoutside the key | D · F · A | 3× |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | — |
| 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 | — |
| #vi | Gm | Chromatic colour chordoutside the key | G · Bb · D | 10× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
| #vii | Am | Chromatic colour chordoutside the key | A · C · E | 12× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 42 times in total; 0 of them sit naturally inside the shared scale. Am, Bb, Gm, C, Dm step outside the scale as colour chords.
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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The backbone is Am, Bb, Gm, C — bvi–VI–#iv–VII from the Db side, #vii–I–#vi–II from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Am; 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.
Ravi İncigöz - Şeker (Mustafa Ceceli) 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.