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)
İrem Derici - Olay Mahalli - Chord
Key Ab major – F minor Chords Bbm7, Abmaj7, Cm7 Easy key C
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Key: Ab | Fm
Capo: 0
Bbm7
Karşıma geçmiş, gülüp eğleniyorsun
Abmaj7
Yaşanmamış gibi beni yok sayıyorsun
Bbm7
Deli olmayı senden öğrendim biliyorsun
Abmaj7
Ufacık bi’ vedayla bitecek sanıyorsun
Bbm7
Güzelim olmuyor senin gibi
Abmaj7
Benziyor zaman zaman ama dolmuyor yerin
Bbm7
Kaderin cilvesi alevlerin
Abmaj7
Soldu gönlümü çalan sevgisiz çiçeklerin
Bbm7
Ben senin her haline, bunca saf ihanete
Cm7
Boyun eğmiştim, yine sevmiştin
Bbm7
Dön olay mahaline, mahkumum hayaline
Cm7
Seni dert ettim, yine kaybettim
Bbm7 Bbm7 Cm7 Cm7
x2
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İrem Derici - Olay Mahalli Tabs
NotesX
Harmony analysis
İrem Derici – Olay Mahalli: key and chord analysis
The song opens on Bbm7 and ends on Cm7. 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 Ab major side because Ab is heard 4 times while Fm never appears. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Abmaj7 | Tonic — home | Ab · C · Eb · G | 4× |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 8× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 4× |
| III | C | Chromatic colour chordoutside the key | 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 | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| IIImaj7 | Abmaj7 | Relative major — the bright side | Ab · C · Eb · G | 4× |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 8× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 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 | — |
| 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). 3 different chords appear 16 times in total; 3 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Abmaj7, land on Ab, C, Eb — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — 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
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The first chord is Bbm7; the ear learns where home is within a second. Bbm7, Abmaj7, Cm7 carry the song: ii7–Imaj7–iii7 relative to Ab, iv7–IIImaj7–v7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. It closes on Cm7, 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.
İrem Derici - Olay Mahalli 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: Mert ÇodurMusic: Mert ÇodurArrangement: Kerem Akdağ
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