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 Cm, Bb, Fm, Eb, Db, Ab, Bbm Easy key C
Cm Bb Bb Ab Cm Bb Bb Cm
Cm Bb Cm
Ben insan değil miyim?
Bb Cm
(Ben insan değil miyim?)
Bb Cm
Ben kulun değil miyim?
Bb Cm
(Ben kulun değil miyim?)
Cm Bb Ab
Tanrım, dünyaya beni sen attın
Cm Bb Cm
Çile çektirdin, derman arattın
Cm Bb Cm
Beni sen kullarına
Bb Cm
(Beni sen kullarına)
Bb Cm
Oyuncak mı yarattın?
Bb Cm
(Oyuncak mı yarattın?)
Fm Eb Bbm Eb Ab
Ben de mutlu olmak istemez miydim?
Bbm Fm Bbm Cm
Şu yalancı dünyada
Eb Db Fm Eb Db Fm
Yüce adaaalet böyle olur mu?
Eb Db Fm Eb Db Fm
Tanrı kulunu hiç unutur mu?
Cm Bb Bb Ab Cm Bb Bb Cm
Cm Bb Cm
Ben de sevmek isterim
Bb Cm
(Ben de sevmek isterim)
Bb Cm
Ben de gülmek isterim
Bb Cm
(Ben de gülmek isterim)
Cm Bb Ab
Önce ne verdin, sonra ne aldın?
Cm Bb Cm
Onun peşinden neden ağlattın?
Cm Bb Cm
Beni sen kullarına
Bb Cm
(Beni sen kullarına)
Bb Cm
Oyuncak mı yarattın?
Bb Cm
(Oyuncak mı yarattın?)
Fm Eb Bbm Eb Ab
Ben de mutlu olmak istemez miydim?
Bbm Fm Bbm Cm
Şu yalancı dünyada
Eb Db Fm Eb Db Fm
Yüce adaaalet böyle olur mu?
Eb Db Fm Eb Db Fm
Tanrı kulunu hiç unutur mu?
Cm Fm Cm
Cm Bb Cm
Madem unutacaktın
Bb Cm
(Madem unutacaktın)
Bb Cm
Beni neden yarattın
Bb Cm
(Beni neden yarattın)
End of song Play again?
Harmony analysis
The song opens on Cm and ends on Cm. 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 Fm is heard 13 times against 6 for Ab. 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 | 6× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 6× |
| V/V | Bb | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F | 32× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 41× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 8× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 13× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 13× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 6× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 6× |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 32× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 41× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 8× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 12× |
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 118 times in total; 6 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
The move to watch is Db → Fm, heard 8 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 Cm lays a solid floor for everything that follows. Cm, Bb, Fm, Eb carry the song: iii–V/V–vi–V relative to Ab, v–IV–i–VII relative to Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. It closes on Cm, letting the Ab side have the last word.
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.
Ready-made lists by difficulty and mood.
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