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)
Melike Şahin - Korkmasam Ölürdüm - Chord
Key Ab major – F minor Chords Cm, Fm, Bb, Dbmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Cm Fm Bb Alnımızın akıyla çıkalım bu geceden Cm Fm Bb Geçelim kendimizden Cm Fm Bb Darmadağın satırlar yıkılır hece hece Cm Fm Bb Ezilmedim bir sebepten Cm Dbmaj7 Fm Sanki devrilir gibi evimizin direği Cm Dbmaj7 Fm Belki düşer ölürüz belki doğarız geri Cm Dbmaj7 Fm Bu sarp kaya uçurum korkmasam ölürdüm orda Cm Dbmaj7 Fm Kanatları uçurdum, gördüğüm zümrüdüanka Cm Fm Bb Kalbe derin okuyla vuruyordu tenime Cm Fm Bb Sevilmedim bir sebepten Cm Fm Bb Yangını ne biçimdi alacak mı canımı Cm Fm Bb Canavarım yılmadım ben Cm Dbmaj7 Fm Sanki devrilir gibi evimizin direği Cm Dbmaj7 Fm Belki düşer ölürüz belki doğarız geri Cm Dbmaj7 Fm Bu sarp kaya uçurum korkmasam ölürdüm orda Cm Dbmaj7 Fm Kanatları uçurdum, gördüğüm zümrüdüanka
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Melike Şahin - Korkmasam Ölürdüm Tabs
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Harmony analysis
Melike Şahin – Korkmasam Ölürdüm: key and chord analysis
The song opens on Cm 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it comes to rest on Fm and Fm is heard 16 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 | — |
| II | Bb | Chromatic colour chordoutside the key | Bb · D · F | 8× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 16× |
| 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 | 8× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 16× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 16× |
| 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 | — |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 8× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 16× |
| 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 | 8× |
| 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). 4 different chords appear 48 times in total; 3 of them sit naturally inside the shared scale. Bb step outside the scale as colour chords.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×8
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×8
The move to watch is Cm → Fm, heard 8 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 Bb, land on Bb, D, F — 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 Cm lays a solid floor for everything that follows. Cm, Fm, Bb, Dbmaj7 carry the song: iii–vi–II–IVmaj7 relative to Ab, v–i–IV–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 Fm, the song seals Fm 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.
Melike Şahin - Korkmasam Ölürdüm 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: Melike ŞahinMusic: Melike Şahin
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