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)
Key Ab major – F minor Chords Fm, Bbm Easy key G (capo 1)
Fm Bbm Fm Bbm
Fm
Hayal ettiğim bu değildi
Bbm
Uykumdan uyancam işler dönmüş arkamdan lan
Fm
Kaybettiğim bu ilk değil
Bbm
Aşk toyluk hepsi gençken
Bol koymazsan resmileşcem bram
Fm Bbm Fm Bbm
(Tüm şarkı boyunca aynı akor döngüsü devam eder)
Acımasız yaşam yeterince büyüdük
Hevesten vazgeçecek kadar
Bıktım akbaban
Uyuduğum masalda bendim hep kahraman
Anlattığı babaannemin
Yaralar artık daha derin
Göz önünde olmak sanma rahat
Çıkmadım çıkmazdan çıksam dahi odamdan
Kopardım parça kırdım kalp yalan değil
Ayakkabım Valentino
Yarınım değil garanti
Gerçek hislerin geçmiş tarihi çoktan
Tarifi yok tat vermiyor ortam
Lise aşklarım endamları noksan
Gülümserim herkese mütevaziyim hala
Şeytan kondurdu öpücüğü yanağıma
Yatağıma yattı ilk şarkımı yazdım sabahına
Toxic Aşklar (U-u-u)
Rolexim Parlar (U-u-u)
Mutsuzum Hala (U-u-u)
Tabak Yanar (U-u-u)
Her gün Savaş (U-u-u)
Yok Akrabam (U-u-u)
Kabuslar dünden kalan
Ne zaman gülsem haram
Anladım dünya yalanmış
Vazgeçtim her şeyden anla
İyileşeceğim zamanla
Yanar
Sönen Sigaralar
Tiksindim bu olmaktan boğulmaktan kalabalığınızda
Kaçamadığımız aslında yakaladığımızsa
Yakındığınız yaşamadığınızdan
Artık heyecanlanmaktan umudu kestim keyif almaktan
Ben ruhu teslim ettim tanrıma
Sosyetenize geldim en alt kattan
Bi aralar iyiydim söndüm ben de sigaralar gibi
Bazen suçu kadere yıkar gibiyim
Bir kar tanesiydim bembeyazken
Her şey daha güzeldi bence azken
Herkeste maske ben yanlış yoldayım
Yolumun bi tarifi yok
Kabuslar dünden kalan
Ne zaman gülsem haram
Anladım dünya yalanmış
Vazgeçtim her şeyden anla
İyileşeceğim zamanla
Yanar
Sönen Sigaralar
End of song Play again?
Harmony analysis
The song opens on Fm and ends on Bbm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 6 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.
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 | 6× |
| 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 | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| 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 | 6× |
| 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 | — |
The key pair is Ab major and its relative F minor (4 flats). 2 different chords appear 12 times in total; 2 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is Bbm → Fm, heard 5 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The opening Fm lays a solid floor for everything that follows. The backbone is Fm, Bbm — vi–ii from the Ab side, i–iv from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. The final chord is Bbm; 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.
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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