Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Derin Esmer - Ölümü Beklerken - Chord
Key Ab major – F minor Chords Bb, Fm, Ab Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Bb Fm Bb Fm Bb Ab Bb
Fm Bb
Üşürüz yanaşırız
Fm Bb
Sevişir değişiriz
Fm Bb
Sıkılır sataşırız
Fm Bb
Sonunda ölümü beklerken
Fm Bb
Bol bol atar tutarız
Fm Bb
İntikam diye yanarız
Fm Bb
Hep yeminler ederiz
Ab Bb
Sonunda ölümü beklerken
Ab Bb
Ölümü beklerken
Fm Bb Ab Bb
Bazen güzel günlere
Fm Bb Ab Bb
Başlarız güneşli
Fm Bb Ab Bb
Bazen okyanuslara dalarız
Fm Bb Ab Bb
Amaçsızca
Fm Bb
Yalnızlıktan korkarız
Fm Bb
Görsünler bizi isteriz
Fm Bb
Ne taklalar atarız
Ab Bb
Sonunda ölümü beklerken
Fm Bb
Durmadan çalışırız
Fm Bb
Büyük işler başarırız
Fm Bb
Yükseldikçe kanarız
Ab Bb
Sonunda ölümü beklerken
Ab Bb
Ölümü beklerken
Fm Bb Ab Bb
Bazen güzel günlere
Fm Bb Ab Bb
Başlarız güneşli
Fm Bb Ab Bb
Bazen okyanuslara dalarız
Fm Bb Ab Bb
Amaçsızca
Fm Bb
Bencillikten kurtulsak
Fm Bb
Polisçilikten sıyrılsak
Fm Bb
Samimiyetsiz hiç olmasak
Ab Bb
Sonunda ölümü beklerken
Ab Bb
Ölümü beklerken
Fm Bb
Yaşamaya doymadan ölmenin
Fm Bb
Ne anlamı var
Fm Bb Ab Bb
Paylaşmayı öğrenmeden yok olmanın
Fm Bb
Ne anlamı var
Fm Bb
Bu hırslar hep boşuna
Fm Bb
Üç adımlık hayatta
Fm Bb
Ne fark eder ölümsüz olsak
Biz bu halde
Fm Bb
Ölümü beklerken
Ab Bb
Ölümü beklerken
End of song Play again?
Derin Esmer - Ölümü Beklerken Tabs
NotesX
Harmony analysis
Derin Esmer – Ölümü Beklerken: key and chord analysis
The song opens on Fm and ends on Bb. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it opens on Fm and Fm is heard 35 times against 18 for Ab. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | 18× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| II | Bb | Chromatic colour chordoutside the key | Bb · D · F | 53× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 35× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 35× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 18× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 53× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 106 times in total; 2 of them sit naturally inside the shared scale. Bb step outside the scale as colour chords.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Bb, land on Bb, D, F — 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 Ab, land on Ab, C, Eb — 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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The backbone is Bb, Fm, Ab — II–vi–I from the Ab side, IV–i–III from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Bb, the song seals Ab 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.
Derin Esmer - Ölümü Beklerken 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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