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)
HiraiZerdüş - Ölmüşüm ölmekten - Chord
Key Ab major – F minor Chords Ab, Eb, Db, Bbm Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Ab Db Eb Ab
Ab Bbm
Soldu pencerede
Eb Ab
Saksıda çiçekler
Bbm
Ah beni bir görsen
Eb Ab
Beterim ölmekten
Ab Bbm
Her şeyi saldım da
Eb Ab
Bi sensin aklımda
Bbm
Ah beni bir görsen
Eb Ab
Ölmüşüm ölmekten
Ab Db
Öyle bir anda gel ki bana
Eb Ab
Zaman da dursun dünya da
Db
Öyle bi vur ki sol yanıma
Eb Ab
Dursun kalbim o anda
Ab Db
Söndür gündüzü yak geceyi
Eb Ab
Ay ondördü vurunca
Db
Bul koynumu uzan yanıma
Eb Ab
Bir ak nergis boyunca
Ab Db Eb Ab
Ab Bbm
Elimi çektim de
Eb Ab
Yemekten içmekten
Bbm
Fikrimi çekmedim
Eb Ab
Seni düşünmekten
Ab Bbm
Her biri bir yerde
Eb Ab
Ayrı bi alemde
Bbm
Halimi bir görsen
Eb Ab
Ölmüşüm ölmekten
Bbm
Ah beni bir görsen
Eb Ab
Ölmüşüm ölmekten
Ab Db
Öyle bir anda gel ki bana
Eb Ab
Zaman da dursun dünya da
Db
Öyle bi vur ki sol yanıma
Eb Ab
Dursun kalbim o anda
Ab Db
Söndür gündüzü yak geceyi
Eb Ab
Ay ondördü vurunca
Db
Bul koynumu uzan yanıma
Eb Ab
Bir ak nergis boyunca
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HiraiZerdüş - Ölmüşüm ölmekten Tabs
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Harmony analysis
HiraiZerdüş – Ölmüşüm ölmekten: key and chord analysis
The song opens on Ab and ends on Ab. 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 it both starts and finishes on Ab and Ab is heard 29 times while Fm never appears. 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 | 29× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 9× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 19× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 29× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 9× |
| 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 | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 19× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 67 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 Ab AbV → Iauthentic cadence FmVII → III ×19
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×10
- Bbm Eb Abii → Vii → V Fmiv → VII ×9
The move to watch is Eb → Ab, heard 19 times. From the Ab side it reads V → I (authentic cadence: the strongest arrival home); from the Fm side it is VII → III. 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 Ab, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Ab lays a solid floor for everything that follows. Ab, Eb, Db, Bbm carry the song: I–V–IV–ii relative to Ab, III–VII–VI–iv relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Ab (V → I in Ab, VII → III in Fm): authentic cadence — the strongest arrival home. The final chord is Ab; 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.
HiraiZerdüş - Ölmüşüm ölmekten 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: HiraiZerdüşMusic: HiraiZerdüşArrangement: HiraiZerdüş
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