Edis - Dudak - Chord

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

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Capo 0

Fm   Abm

Fm              Abm   Fm               Abm
Tatlım güzelsin de,  korkak bir halin var
Fm              Abm  Fm                       
Derdim biraz uyku,  sonrası rüyalar

Fm
Hayır anlamadım neyin havası bu

Balkandan bile soğuk hava dalgası
                               Ab  G   
Yanına yakışacak bir başkası yok mu

Fm
Ser verip sır vermiyorsun ama
Db
Gözlerinden okundu kaç numara
Bbm                           Db  Cm
Aradık tabi hiç cevapsız yok mu

Fm
Hadi bi dudak bir yanak yolla
Bbm
Kurumuş yüreğim bir nem alsın
Db
Bir bakarsan sağına soluna
Cm
Kim deliden deli anlarsın

Fm    Abm

Eb                       Db
Yüz ver görelim hadi zahirim
Eb                     Db
Yetmez kalemi bana alimin
Eb                Db
İnadından kurtul bak
Eb                           Db
Ruhta tamamlansam kimlere aitim

Eb                        Db
Yüz ver görelim hadi zahirim
Eb                     Db
Yetmez kalemi bana alimin
Eb                Db
İnadından kurtul bak
Fm
Ederinden çok kederi var halinin

End of song Play again?

Edis - Dudak Tabs

NotesX

Harmony analysis

Edis – Dudak: key and chord analysis

The song opens on Fm and ends on Fm. 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 both starts and finishes on Fm and Fm is heard 10 times against 1 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	1×
i	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	5×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	2×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	2×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	10×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	7×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	10×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—
V/iii	G	Secondary dominant V/iii — leads to Cmsecondary dominant	G · B · D	1×

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	10×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
V/v	G	Secondary dominant V/v — leads to Cmsecondary dominant	G · B · D	1×
III	Ab	Relative major — the bright side	Ab · C · Eb	1×
iii	Abm	Chromatic colour chordoutside the key	Ab · Cb · Eb	5×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	2×
v	Cm	Minor dominant — soft pull	C · Eb · G	2×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	10×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	7×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 8 different chords appear 38 times in total; 6 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×6
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
Db Fm AbIV → vi FmVI → iVI → i ×1

The move to watch is Db → Eb, heard 6 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before 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 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.
Over Eb, land on Eb, G, Bb — 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
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is Fm; the ear learns where home is within a second. The backbone is Fm, Db, Eb, Abm — vi–IV–V–i from the Ab side, i–VI–VII–iii from the Fm side. G adds a moment of surprise: secondary dominant V/iii — leads to Cm. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. It closes on Fm, letting the Fm 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.

Edis - Dudak 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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