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)
Adamlar - Yanmış İçinden - Chord
Key Ab major – F minor Chords Fm, Cm, D#, C#, Bbm, C, F# Easy key C
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Key: Ab | Fm
Capo: 0
Cm Fm D# Cm Fm C# Cm Fm D# Cm C# Cm Fm D# Akar zaman, yakar zaman Cm Fm C# Kirli temiz eksik tamam Cm Fm D# Yuvarlanıp yokuşlardaaaaaan Cm F# C# Duraklarda duruyorum Ay ay ay Cm Fm D# Duyduğumu bağırmadan Cm Fm C# Fazlasına sarılmadan Cm Fm D# Gece gündüz arasındaaaaaaaa Cm Fm C# Mekikleri dokuyorum Fm D# Bbm Yanmış içinden C# D# C Söylenmez, dile gelmez Fm D# Bbm Kuyunun dibinde C# C Çalar eski bir şarkı Fm D# Bbm Yanmış içinden C# D# C Merhemi yok, bulunmaz Fm D# Bbm Gizden gölgeden C# D# C Yürür yarası saklı Cm Fm D# Elimdeki kartlar bunlar Cm Fm C# Aynada gördüğüm kafaaaaaaam Cm Fm D# Başka kafamdaki adamdan Cm Fm C# Olsun, devam ediyoruuuuuum
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Adamlar - Yanmış İçinden Tabs
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Harmony analysis
Adamlar – Yanmış İçinden: key and chord analysis
The song opens on Cm and ends on C#. 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)
- #7 = E (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 18 times while Ab never appears and the major V chord points straight at Fm. 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 | 4× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 16× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 4× |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 12× |
| V | D# | Dominant — strongest pull home | D# · G · A# | 15× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 18× |
| bVII | F# | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | F# · A# · C# | 1× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 18× |
| bII | F# | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | F# · A# · C# | 1× |
| 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 | 4× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 16× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 4× |
| VI | C# | Submediant — warm colour | C# · E# · G# | 12× |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 15× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 70 times in total; 5 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm. F# is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×14
- C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×3
- C# D# AbIV → VIV → V FmVI → VIIVI → VII ×3
- C# Fm AbIV → vi FmVI → iVI → i ×1
The move to watch is Cm → Fm, heard 14 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 D#, land on D#, G, A# — the chord's own tones always sound right on strong beats.
- When C comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.
- On F#, follow the chord's notes (F# · A# · C#) rather than the key's scale — it's a borrowed colour.
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
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Cm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Cm, D#, C#; read them as vi–iii–V–IV in Ab or i–v–VII–VI in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on C#, the song seals Ab 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.
Adamlar - Yanmış İçinden 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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