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)
Yaşar - Kör Bıçak - Chord
Key Ab major – F minor Chords C, Ab, Fm, Eb7, Bbm, Dbmaj7, Fm7, Gm7b5 … Easy key C
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Key: Ab | Fm
Capo: 0
Fm Ab Dbmaj7 Gm7b5 C7 Fm Bir gün oldu bir gün daha C Bir günahtı her gün daha Eb7 Bir gün aktı gözyaşlarım Ab C Durmadı durmadı Fm Yemin olsun bir gün daha C Dedim olsun bir gün daha Eb7 Senede bir bir gün daha Ab C Olmadı olmadı Bbm Eb7 Önlerime duvarlar örseler Ab Fm7 Kara sevdam her gün öldürseler Dbmaj7 Bbm Kör bıçağım kimseleri kesemem C Beni yine beni yine seninle (teninle) bileseler Bbm Eb7 Gözlerimi kor demirle delseler Ab Fm7 Üzerimi topraklarla örtseler Dbmaj7 Bbm Saplı durur rengi gözlerinin C Fm Sana kayar sana kaçar yine deli aklım benim
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Yaşar - Kör Bıçak Tabs
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Harmony analysis
Yaşar – Kör Bıçak: key and chord analysis
The song opens on Fm and ends on Fm. 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)
- #7 = E (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 F minor side because it both starts and finishes on Fm, Fm is heard 6 times against 5 for Ab and the major V chord points straight at Fm. 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 | 5× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 4× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 6× |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 1× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 3× |
| V7 | Eb7 | Dominant — strongest pull home | Eb · G · Bb · Db | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 2× |
| viiø7 | Gm7b5 | Leading-tone chord — tension | G · Bb · Db · F | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 2× |
| iiø7 | Gm7b5 | Supertonic — prepares the dominant | G · Bb · Db · F | 1× |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 5× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 4× |
| 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 | 6× |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 1× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 3× |
| VII7 | Eb7 | Subtonic — steps back to the tonic | Eb · G · Bb · Db | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 9 different chords appear 30 times in total; 7 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C / C7 is V/vi, a secondary dominant heading for Fm.
Chord movement
- Eb7 Ab AbV7 → Iauthentic cadence FmVII7 → III ×4
- C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×2
- Bbm Eb7 Abii → V7ii → V Fmiv → VII7 ×2
- Bbm C Abii → V/vi Fmiv → Viv → V ×2
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×1
- Gm7b5 C7 Abviiø7 → V7/vi Fmiiø7 → V7ii° → V ×1
The move to watch is Eb7 → Ab, heard 4 times. From the Fm side it is VII7 → III; from the Ab side it reads V7 → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
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 C, land on C, E, G — 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 C7 comes, swap the scale's Eb for E: 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 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are C, Ab, Fm, Eb7; read them as V/vi–I–vi–V7 in Ab or V–III–i–VII7 in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Eb7 → Ab (V7 → I in Ab, VII7 → III in Fm): authentic cadence — the strongest arrival home. The final chord is Fm; the ear comes to rest in Fm.
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.
Yaşar - Kör Bıçak 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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Lyrics: YaşarMusic: Yaşar
Alper Arundar
Alper Arundar
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