Pera - Yarim Benden Gidiyordu - Chord

Key Ab major – F minor Chords Eb, Fm, Db, Cm, Ab Easy key G (capo 1)

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Capo 0

Fm     Eb            Db
İçim akar sana bir nehir
Fm      Eb          Db
İçtiğim su değil zehir
Fm      Eb         Db
Sevda nasıl başa bela
Fm        Eb        Db
Anlat tüm gerçeği bana

Fm      Eb           Db
Gecem karanlık bir zifir
Fm      Eb              Db
Rüyamda sen ve bu bir sihir
Fm      Eb          Db
Senle yürür senle büyür
Fm        Eb         Db     Eb
Belki bir gün senle ölür bu kalp

Fm                Eb
Yağmur yağıyordu, gökler ağlıyordu
Db                      Cm
Yarim benden gidiyordu, sorma sorma
Fm
Aşk bir kurşun ve vuruyordu
  Eb
Beden yıkıldı ve ölüyordu
Db                      Cm       Eb
Yarim benden kaçıyordu, sorma sorma

Fm  Ab  Eb  Db
x2

Fm      Eb           Db
Esen rüzgar tutamam onu
Fm        Eb           Db
Kayboldum da bulamam yolu
Fm        Eb       Db
Belki hak etmedim onu
Fm        Eb       Db  Eb
Gittiğinde bitti rüya uyan

Fm                Eb
Yağmur yağıyordu, gökler ağlıyordu
Db                      Cm
Yarim benden gidiyordu, sorma sorma
Fm
Aşk bir kurşun ve vuruyordu
  Eb
Beden yıkıldı ve ölüyordu
Db                      Cm       Eb
Yarim benden kaçıyordu, sorma sorma

Fm  Ab  Eb  Db
x2

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Pera - Yarim Benden Gidiyordu Tabs

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Harmony analysis

Pera – Yarim Benden Gidiyordu: key and chord analysis

The song opens on Fm and ends on Db. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 18 times against 2 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.

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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	2×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	4×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	18×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	22×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	18×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
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	2×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	—
v	Cm	Minor dominant — soft pull	C · Eb · G	4×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	18×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	22×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 64 times in total; 5 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

Db Fm AbIV → vi FmVI → iVI → i ×11
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×4
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2

The move to watch is Db → Fm, heard 11 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.

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 Eb, land on Eb, G, Bb — 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 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 opening Fm lays a solid floor for everything that follows. The backbone is Eb, Fm, Db, Cm — V–vi–IV–iii from the Ab side, VII–i–VI–v from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. The final chord is Db; 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.