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)
Manuş Baba - Değmez - Chord
Key Ab major – F minor Chords Fm, Cm, Db, Bbm, Bb, Eb Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Bbm Cm Fm Db Db Cm Fm
Bbm Cm Fm Db
Değm ez değ mez
Db Cm Fm
Güzelim sana değmez
Bbm Cm Fm Db
Kırmızı rujlarla boyalı yataklarda
Db Cm Fm
Saçılmış nar gibi, paramparça
Bbm Cm Fm Db
Varsın olsun bu da böyle olsun
Db Cm Fm
Güzeli yaşamak bizlere kalsın
Bbm Cm Fm
Elem keder anam hepsi bir ağızdan
Db Eb Db Eb
Değmez, değmez
Bb Fm Bb Fm
Gelmezsen de olur, dönmezsen de olur
Bb Fm
Bu kalp sensiz de atar
Bb Eb Fm
Baba dön baba geri geri dön
Bb Eb Fm
Geri dön baba geri geri dön
Bbm Cm Fm Db
Dön mez dön mez
Bbm Cm Fm
Ah gidenler geri dönmez
Bbm Cm Fm Db
Kesilen bu nefesimin ardında
Db Cm Fm
Çırılçıplak kalmış bütün vücutlar
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Manuş Baba - Değmez Tabs
NotesX
Harmony analysis
Manuş Baba – Değmez: key and chord analysis
The song opens on Bbm 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 18 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 | 8× |
| V/V | Bb | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F | 5× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 13× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 13× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 18× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 18× |
| 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 | 8× |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 5× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 13× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 13× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 61 times in total; 5 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×13
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
The move to watch is Cm → Fm, heard 13 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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
- 4 semitones up
The song's harmonic story
The first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are Fm, Cm, Db, Bbm; read them as vi–iii–IV–ii in Ab or i–v–VI–iv in Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. 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.
Manuş Baba - Değmez 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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