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)
Resul Dindar - Duman Aldi Dağlara - Chord
Key Ab major – F minor Chords Eb, Bbm, Ab, Fm Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Bbm Ab Eb Bbm Ab Eb Eb Duman aldi dağlara Fm Ben aldum yaylara Bbm Kara gözli sevduğum Ab Eb Geldi mi buralara Bbm E gürgen ağaçlari Ab Eb Meyva vermeyisunuz Bbm Geçti mi burdan yarum Ab Eb Bana demeyisunuz Bbm Ab Eb Bbm Ab Eb Eb Oy dağlarum dağlarum Fm Dayma gezer ağlarum Bbm Darilmam kimselere Ab Eb İkbalumdan ağlarum (yanarum) Bbm E gürgen ağaçlari Ab Eb Meyva vermeyisunuz Bbm Geçti mi burdan yarum Ab Eb Bana demeyisunuz Bbm Ab Eb Bbm Ab Eb Eb Dereler denizlere Fm Kavuşti da ne oldi Bbm Sensuz geçen günlerum Ab Eb Günden sayilmaz oldi Bbm E gürgen ağaçlari Ab Eb Meyva vermeyisunuz Bbm Geçti mi burdan yarum Ab Eb Bana demeyisunuz
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Resul Dindar - Duman Aldi Dağlara Tabs
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Harmony analysis
Resul Dindar – Duman Aldi Dağlara: key and chord analysis
The song opens on Bbm and ends on Eb. 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 Ab major side because Ab is heard 15 times against 3 for Fm. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 | 15× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 15× |
| 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 | 18× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 3× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 3× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 15× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 15× |
| 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 | 18× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 51 times in total; 4 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×3
The move to watch is Eb → Fm, heard 3 times. From the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm); from the Fm side it is VII → i (Aeolian arrival: rises a whole tone into 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 Eb, land on Eb, G, 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.
- 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
The opening Bbm lays a solid floor for everything that follows. Eb, Bbm, Ab, Fm carry the song: V–ii–I–vi relative to Ab, VII–iv–III–i relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): deceptive cadence — expected Ab, lands on Fm. The final chord is Eb; the ear comes to rest in Ab.
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.
Resul Dindar - Duman Aldi Dağlara 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: AnonimMusic: AnonimArrangement: Resul Dindar
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