Musa Eroğlu - Zamansız Yağmur - Chord

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

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Capo 0

Ab          Bbm    Cm   Eb        Db    Cm
Ben ayrılık istemedim, sebep olanlar utansın
Fm          Db     Eb                Fm     Db
Hazan değdi yaprağıma, mevsim dursun güz utansın
Bbm            Db  Cm              Bbm      Cm
Hazan değdi yaprağıma, mevsim dursun güz utansın

Fm         Db      Eb                  Fm     Db
Çürümüş yaprak gibiyim, güz değil bahar utansın   
Bbm             Db   Cm                 Bbm     Cm
Çatlamış toprak gibiyim, ırmaklar çaylar utansın

Ab          Bbm   Cm   Eb         Db     Cm
Dağlar girdi aramıza, taş çürüsün yol utansın
Fm           Db    Eb              Fm     Db
Diken sardı ellerimi, naz etmesin gül utansın
Bbm              Db   Cm           Bbm     Cm
Diken sardı ellerimi, naz etmesin gül utansın

Fm          Db      Eb              Fm    Db
Çiğ düşüyor gözlerimden, ıslanıyor yanaklarım
Bbm           Db   Cm               Bbm     Cm
Kurumuş toprak gibiyim, zamansız yağmur beklerim

End of song Play again?

Musa Eroğlu - Zamansız Yağmur Tabs

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Harmony analysis

Musa Eroğlu – Zamansız Yağmur: key and chord analysis

The song opens on Ab and ends on Cm. 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor because it opens on Ab and Fm is heard 8 times against 2 for Ab. Try reading the chords both ways and see which feels more like home to you.

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	10×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	12×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	14×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	6×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	8×
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	8×
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	10×
v	Cm	Minor dominant — soft pull	C · Eb · G	12×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	14×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	6×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 52 times in total; 6 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

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

The move to watch is Eb → Fm, heard 4 times. From the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm); from the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Db, land on Db, F, Ab — 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 Bbm, land on Bb, Db, F — 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

Starting on Ab, the song gives away its key from the very first bar. Db, Cm, Bbm, Fm carry the song: IV–iii–ii–vi relative to Ab, VI–v–iv–i relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): deceptive cadence — expected Ab, lands on Fm. 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.