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)
Samil Memmedli - Vefasız - Chord
Key Db major – Bb minor Chords Fm, Ebm, Bbm, Gb, Ab Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Bbm Gb Ab
Fm Ebm Fm
Məni sevə sevə dərt vermə mənə
Ebm Fm
Çökər bu tənhalıq mənim qəlbimə
Ebm Bbm
Ürəyim qap qara gecələr kimi
Gb Ebm Fm
Daşlara vurmusan bu saf eşqimi
Bbm Ab
Belə eləmə, kədər Ələmə
Gb Ebm Fm
Sən ay vəfasız, artıq söz demə
Fm Bbm
Canım vəfasız qayıt vəfasız
Gb Ebm Fm
Dön gəl qəlbimə qalmışam yalqız
Fm Bbm Gb Ebm Fm
Fm Ebm Fm
Sənə edərəm mən qurban sevgimi
Ebm Fm
Əgər sən hər zaman bilsən qədrimi
Ebm Bbm
Sən acı sözlərlə dəydin xətrimə
Gb Ebm Fm
Mən sənə demişdim məni incitmə
Bbm Ab
Belə eləmə, kədər Ələmə
Gb Ebm Fm
Sən ay vəfasız, artıq söz demə
Fm Bbm
Canım vəfasız qayıt vəfasız
Gb Ebm Fm
Dön gəl qəlbimə qalmışam yalqız
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Samil Memmedli - Vefasız Tabs
NotesX
Harmony analysis
Samil Memmedli – Vefasız: key and chord analysis
The song opens on Fm 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 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 | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 13× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 17× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 8× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 3× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 8× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 8× |
| 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 | 13× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 17× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 8× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 3× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 49 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
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×6
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
- Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
The move to watch is Fm → Bbm, heard 6 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → 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 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 Bbm, land on Bb, Db, F — 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
Starting on Fm, the song gives away its key from the very first bar. Fm, Ebm, Bbm, Gb carry the song: iii–ii–vi–IV relative to Db, v–iv–i–VI relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Fm, 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.
Samil Memmedli - Vefasız 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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