Emrah - İstanbul'u Benden Sorsunlar - Chord

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

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Capo 0

Bbm            Gb
Bu gece seninle son buluşmamız
   Fm     Ebm    Fm
Lütfen sus ve dinle
        Ab         Gb    Bbm
Acı gelebilir sözlerim sana
  Ab   Gb     Bbm
Vedalaaş benimle

Fm            Ebm
Sevenlerin ahı yerde kalmıyor
Fm             Bbm        Gb
Senin günahını yüreğin çeksin
Fm             Ebm
Bir daha yüzümü görmeyeceksin
Fm             Bbm   Gb
Aşkı ayrılıkla öğreneceksin

Bbm               Fm
Bu gece İstanbul'u benden sorsunlar
Ebm                 Fm    Gb   Ab
Yarından sonra beni sen anlatırsın
Fm                Gb
Aşkta kim kazanmış kimmiş kaybeden
Ebm             Ab   Gb   Fm
Bunu da kalbine hatırlatırsın

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Emrah - İstanbul'u Benden Sorsunlar Tabs

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Harmony analysis

Emrah – İstanbul'u Benden Sorsunlar: key and chord analysis

The song opens on Bbm and ends on Fm. 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 6 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	5×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	10×
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	4×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	6×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	6×
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	5×
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	Gb	Submediant — warm colour	Gb · Bb · Db	8×
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). 5 different chords appear 33 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

Gb Bbm DbIV → vi BbmVI → iVI → i ×3
Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×2
Gb Ab DbIV → VIV → V BbmVI → VIIVI → VII ×1
Ebm Ab Dbii → Vii → V Bbmiv → VII ×1

The move to watch is Gb → Bbm, heard 3 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → 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 Gb, land on Gb, Bb, Db — 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

The opening Bbm lays a solid floor for everything that follows. Fm, Gb, Bbm, Ebm carry the song: iii–IV–vi–ii relative to Db, v–VI–i–iv relative to Bbm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. 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.