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)
Jehan Barbur - Ayin (Korhan Futacı) - Chord
Key Ab major – F minor Chords Db, Cm, Fm, C, Eb, G, Ab, Bb Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Ab | Fm
Capo: 0
Cm Db Cm Db Cm Db Cm Db Gökyüzü maden arayan buluyor Cm Db Cm Db Şeytana satılık en kötü düşler Cm Db Cm Db Herkese bulaşır en sonu bekler Cm Db Gökyüzü maden keskin dişler Fm Yine bana büyüyor, yine bana büyüyor Cm Db Cm Db Cm Db Cm Db Savaşlar eski tankların Cm Db Cm Db Bükemem dediğin namluların Cm Db Cm Db Kaplıyor adamı sabrım taştı Cm Db Şeytanın aklı bende mi kaldı Fm Yine bana büyüyor, yine bana büyüyor C Db Eb Fm C Db Eb Fm Gökyüzü maden, gökyüzü maden C Db Eb Fm Gökyüzü maden, gökyüzü maden C Db Yine bana büyüyor, yine bana büyüyor Eb Fm Yine bana, yine bana, yine bana büyüyor C Db Yine bana büyüyor, yine bana büyüyor Eb Fm Yine bana, yine bana, yine bana büyüyor C Db Eb Fm Gökyüzü maden, gökyüzü maden C Db Eb Fm Gökyüzü maden, gökyüzü maden G Ab Bükemediğimiz namlular Bb Cm Kor gibi sıcak yollar var G Ab Bulandığımız çamurlar Bb Cm Yürüdüğümüz patikalar var G Ab Ölünmez savaş tanrılar Bb Cm Derin derin aldığımız nefesler G Ab Bb C Db Yine de aramadığımız sonlar var
End of song Play again?
Jehan Barbur - Ayin (Korhan Futacı) Tabs
NotesX
Harmony analysis
Jehan Barbur – Ayin (Korhan Futacı): key and chord analysis
The song opens on Cm and ends on Db. 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 Fm is heard 9 times against 4 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 | 4× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| V/V | Bb | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F | 4× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 21× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 8× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 26× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 7× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 9× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| V/iii | G | Secondary dominant V/iii — leads to Cmsecondary dominant | G · B · D | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 9× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| V/v | G | Secondary dominant V/v — leads to Cmsecondary dominant | G · B · D | 4× |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 4× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 4× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 21× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 8× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 26× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 7× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 8 different chords appear 83 times in total; 5 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 is V/vi, a secondary dominant heading for Fm. G, Bb act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×7
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×7
- Db Fm AbIV → vi FmVI → iVI → i ×2
The move to watch is Eb → Fm, heard 7 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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 C 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Cm; the ear learns where home is within a second. The backbone is Db, Cm, Fm, C — IV–iii–vi–V/vi from the Ab side, VI–v–i–V from the Fm side. 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 Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. The final chord is Db; 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.
Jehan Barbur - Ayin (Korhan Futacı) 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Korhan FutacıMusic: Korhan FutacıArrangement: Çağrı Sertel
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.