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)
Ozan - Yansın Dünya - Chord
Key Db major – Bb minor Chords G#, Fm, F#, A#m, D#m Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
A#m G# Fm F# D#m G# D#m A#m
A#m G# F#
Aşk degil bu düpedüz eziyet
Fm
Kalbimde fena vaziyet
G# F#
Sen gibi olamam, canını yakamam
G#
Bizde vefa babadan vasiyet
G# A#m
Sevdim kabul, ama uğruna
F# Fm
Can verecek kadar degil
G# F#
Sen git şimdi kendin gibi
Fm
Bir hayırsızın önünde eğil
A#m G#
Yansın dünya çok umrumda
Fm F#
Dönüp ardıma bakarmıyım
G#
Sonum gelse, şifam sende
D#m A#m
Deseler bile seni ararmıyım
A#m G# F#
Tanrı görür olanı biteni
D#m G# Fm
Kader tutar kalp hesabını
G# F#
Unutur gönül çekip gideni
Fm
Kendine saklar sevabını
Fm A#m
Bir kenara yaz bunlar giderken
F# Fm
Lazım olur geri gelirken
F#
Tabi döndüğünde sevdiğini
Fm
Aynı evde bulabilirsen
End of song Play again?
Ozan - Yansın Dünya Tabs
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Harmony analysis
Ozan – Yansın Dünya: key and chord analysis
The song opens on A#m 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 it opens on Bbm and Bbm is heard 8 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 | D#m | Supertonic — prepares the dominant | D# · F# · A# | 4× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 10× |
| V/vi | F | Secondary dominant V/vi — leads to A#msecondary dominant | F · A · C | — |
| IV | F# | Subdominant — moves away from home | F# · A# · C# | 10× |
| V | G# | Dominant — strongest pull home | G# · B# · D# | 12× |
| vi | A#m | Relative minor — the melancholy side | A# · C# · E# | 8× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | A#m | Tonic — home | A# · C# · E# | 8× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | D#m | Subdominant — moves away from home | D# · F# · A# | 4× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 10× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | F# | Submediant — warm colour | F# · A# · C# | 10× |
| VII | G# | Subtonic — steps back to the tonic | G# · B# · D# | 12× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 44 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
- D#m A#m Dbii → vi Bbmiv → iminor plagal ×2
- D#m G# Dbii → Vii → V Bbmiv → VII ×2
- F# G# DbIV → VIV → V BbmVI → VIIVI → VII ×2
- Fm A#m Dbiii → vi Bbmv → inatural-minor cadence ×2
- G# A#m DbV → videceptive cadence BbmVII → iAeolian arrival ×1
The move to watch is D#m → A#m, heard 2 times. From the Bbm side it is iv → i (minor plagal: deep and melancholic); from the Db side it reads ii → vi. 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 Fm, land on F, Ab, C — 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
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is A#m; the ear learns where home is within a second. The chords that keep coming back are G#, Fm, F#, A#m; read them as V–iii–IV–vi in Db or VII–v–VI–i in Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D#m → A#m (ii → vi in Db, iv → i in Bbm): minor plagal — deep and melancholic. It closes on Fm, 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.
Ozan - Yansın Dünya 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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