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)
Bağzıları - Akış (Hidra) - Chord
Key Ab major – F minor Chords Cm, Fm, Dbmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm Dbmaj7 Cm Fm Sen varsın bak bu kaçışta Cm Ruhum ölü bedenim akışta Dbmaj7 Seni çekmişim her sarışımda Cm Aklım dursa da kalbim atışta Fm Cm Dbmaj7 Cm Tüm şarkı boyunca bu akor döngüsü devam eder. Olmasan da kalbim atışta Düşündüm dönülmez bir hata mıydı Sanki tanışmak Hatırla üşüdüğünde yanındaydım Her kara kışta İstersen kal bana düşman Yeter ki kanıma karışma Canını yakan o şarkılar çalarken Acını hatırlarsın arkamızdan martılar bakarken Dev bir salgından kaçarken, güneşin ardından batarken Acını hatırlarsın mahalledeki çarşılar yanarken Sabahı karşılardık erken Tanıdıklardı asıl engel Başa çıkacaktık derken Kanadık kaldık, yanarız sandık dertten Boş ver, yaptı derler yapmasan da zaten Nasıl benle aynı hissedicen karşıdan bakarken? Bir kadınla bir çocuk hayaleti Zaman dediğin bir panzehir Ve basittir yaşam dedin Bir çare bir kevaşenin metaneti Selam dedim veda dedi 14 yıldı aynı şeyden bahsedince kahpe bir planla geldim oyuna Hepsi gitti kaldım tek başıma Oradan oraya tek taşınan bir şairim giderken de hüzünlerimi pek taşımam Koymuşum mihenk taşına, kalbini git çek başımdan çünkü geçti sıran Farklı bedenlerde aynı keyifsizlik Aynı tahammülsüzlükler, aynı şarkı değişsin Duydum çok yaşamaz erken ölür yandı demişsin Ve fakat bende yaşlanacak kadar şanslı değilsin
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Bağzıları - Akış (Hidra) Tabs
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Harmony analysis
Bağzıları – Akış (Hidra): key and chord analysis
The song opens on Fm and ends on Cm. 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 3 times while Ab never appears. 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 | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 6× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 3× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| 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 | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 6× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 3× |
| 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 12 times in total; 3 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
The move to watch is Cm → Fm, heard 2 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. 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 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.
- Over Dbmaj7, 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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. Cm, Fm, Dbmaj7 carry the song: iii–vi–IVmaj7 relative to Ab, v–i–VImaj7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Cm, 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.
Bağzıları - Akış (Hidra) 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: Fatih Uslu - Ömer NaldemirMusic: Ömer NaldemirArrangement: Ömer Naldemir
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