Sancak - Gel Artık - Chord

Key Db major – Bb minor Chords G#, A#m, F#, Ab, Bbm, Gb Easy key G (capo 6)

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Capo 0

Bbm  Ab  Bbm  Ab  Bbm  Ab  Gb  Ab

A#m      G#            A#m         G#            A#m
Bilsen nasıl dayandığımı, sensiz her gece uyandığımı
      G#                  F#                G#
Gelsen, ya da bir gülsen yeter, unuttun mu sana inandığımı

A#m       G#             A#m       G#
Öğrendim sensiz yürümeyi ve seni sensiz sevmeyi
A#m       G#            F#       G#
Bir tek sensiz gülmeyi yapamıyorum, gel artık
A#m            G#         A#m       G#
Bir avuç yalan yüzünden gelemedim o an peşinden
A#m          G#           F#        G#
Gelip seni çıkar içimden, ben yaşamıyorum gel artık

A#m        G#              A#m      G#
Taş dolu uzun yolun olsa, bilsem öleceğim ortasında
A#m              G#           F#         G#
Çıkarım yola şu an bana kalsa ama bulamıyorum, gel artık
A#m       G#            A#m        G#   
Öğrendim sensiz yürümeyi ve seni sensiz sevmeyi
A#m      G#             F#      G#
Bir tek sensiz gülmeyi yapamıyorum, gel artık

A#m     G#             A#m         G#            A#m
Bilsen nasıl dayandığımı, sensiz her gece uyandığımı
      G#                  F#                G#
Gelsen, ya da bir gülsen yeter, unuttun mu sana inandığımı

A#m       G#               A#m      G#
Öğrendim yalnız üzülmeyi, içimi kendime dökmeyi
A#m        G#           F#      G#   
Bir tek sensiz gülmeyi yapamıyorum, gel artık
A#m         G#         A#m       G#   
Birkaç resim yüzünden yine seni andım bugün ben
A#m          G#           F#        G#
Gelip seni çıkar içimden, ben yaşamıyorum gel artık

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Harmony analysis

Sancak – Gel Artık: key and chord analysis

The song opens on Bbm and ends on G#. 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: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 27 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.

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	—
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	F#	Subdominant — moves away from home	F# · A# · C#	8×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	1×
V	G#	Dominant — strongest pull home	G# · B# · D#	32×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	4×
vi	A#m	Relative minor — the melancholy side	A# · C# · E#	24×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	3×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	A#m	Tonic — home	A# · C# · E#	24×
i	Bbm	Tonic — home	Bb · Db · F	3×
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	—
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	F#	Submediant — warm colour	F# · A# · C#	8×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	1×
VII	G#	Subtonic — steps back to the tonic	G# · B# · D#	32×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	4×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 72 times in total; 6 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

G# A#m DbV → videceptive cadence BbmVII → iAeolian arrival ×23
F# G# DbIV → VIV → V BbmVI → VIIVI → VII ×8
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
Ab A#m DbV → videceptive cadence BbmVII → iAeolian arrival ×1
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1

The move to watch is G# → A#m, heard 23 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on Bbm). 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 G#, land on G#, B#, D# — the chord's own tones always sound right on strong beats.
Over A#m, land on A#, C#, E# — 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

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is Bbm; the ear learns where home is within a second. G#, A#m, F#, Ab carry the song: V–vi–IV–V relative to Db, VII–i–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 G# → A#m (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. 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.