Onur Can Özcan - Haziran (Çağla Şola) - Chord

Key Db major – Bb minor Chords Bbm, Ab, Fm, Gb, Gm, Dm, Ebm, F … Easy key C (capo 1)

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Capo 0

Gm                    F    Eb
Güneş hapsolsa da bir mevsime
    Dm
Yetiyor bir ömüre
Cm                  Dm
İkimiz için bir ısıtıyor
    Gm
Haziran

Gm                  F    Eb
Aşk hapsolsa da bir mevsime
    Dm
Yetiyor bir ömüre
Cm               Dm
İkimiz için bir umut
    Gm
Haziran

Bbm  Ab  Gb  Fm  Ebm  Fm  Bbm

Bbm
Seni bana anlatıyor her şey
                                Ab
Artık önemli değil hiç bir şey, sen varsın
                                 Gb
Bunu nasıl silebilir insan bilmem
      Ab   Bbm
Sen Aaziran'sın

Bbm
Görmek önemli değil

Gördükçe bitti tükendi aşk
            Ab
Bunu gördük anladık
                             Gb
Özlemek gibisi yok bundan böyle
      Ab   Bbm
Sen Aaziran'sın

Bbm                 Ab   Gb
Aşk hapsolsa da bir mevsime
    Fm
Yetiyor bir ömüre
Ebm              Fm
İkimiz için bir umut
    Bbm
Haziran

Bbm                   Ab   Gb
Güneş hapsolsa da bir mevsime
    Fm
Yetiyor bir ömüre
Ebm                 Fm
İkimiz için bir ısıtıyor
    Bbm
Haziran

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Onur Can Özcan - Haziran (Çağla Şola) Tabs

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Harmony analysis

Onur Can Özcan – Haziran (Çağla Şola): key and chord analysis

The song opens on Gm and ends on Bbm. 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)
#7 = A (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it comes to rest on Bbm, Bbm is heard 10 times while Db never appears and the major V chord points straight at Bbm. 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	—
bii	Dm	Chromatic colour chordoutside the key	D · F · A	4×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	3×
V/V	Eb	Secondary dominant V/V — leads to Absecondary dominant	Eb · G · Bb	2×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	6×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	2×
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	5×
#iv	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	7×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	10×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	10×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
ii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
III	Db	Relative major — the bright side	Db · F · Ab	—
#iii	Dm	Chromatic colour chordoutside the key	D · F · A	4×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	3×
IV	Eb	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb	2×
v	Fm	Minor dominant — soft pull	F · Ab · C	6×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	2×
VI	Gb	Submediant — warm colour	Gb · Bb · Db	5×
#vi	Gm	Chromatic colour chordoutside the key	G · Bb · D	4×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	7×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 10 different chords appear 45 times in total; 5 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F is V/vi, a secondary dominant heading for Bbm. Eb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×3
Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×2
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×2

The move to watch is Fm → Bbm, heard 3 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Ab, land on Ab, C, Eb — 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.
When F comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.

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
4 semitones up

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are Bbm, Ab, Fm, Gb; read them as vi–V–iii–IV in Db or i–VII–v–VI in Bbm. F is the interesting twist: in Db it is a chromatic chord (V/vi), while in Bbm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Bbm, the song seals Bbm 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.

Onur Can Özcan - Haziran (Çağla Şola) 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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