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)
Feridun Düzağaç - Beni Rahatta Dinleyin - Chord
Key Ab major – F minor Chords Bbm, Fm, Eb, Ab, Cm Easy key C
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Key: Ab | Fm
Capo: 0
Ab Fm Bbm Eb
Ab Fm Bbm Eb
Fm Ab Bbm Eb
Fm Ab Bbm Fm
Fm Eb Ab
Yağmurda tanıdım seni, yağmuru da sevdim seni de
Fm
Seni yağmurdan çok
Eb Ab
Bak denizin ortasındayız rüzgarlar altında
Fm
Ve yağmurumuz artık yok
Bbm Eb Ab Fm
Ölüm ayrılıktan da zor senin gibi ölünce
Bbm Eb Ab Fm
Gözlerin dolacakmı beni görünce
Bbm Cm
Bir gün ölürsem ki ölürüm
Bbm Cm
Yüzünü gecelerde görürüm
Bbm Cm Bbm Eb
Ellerimi uzatsam sana değmez bilirim
Bbm Eb Ab Fm
Adı var kendi yoklardan bıktım
Bbm Eb Fm
Adı var kendi yoksa ben de yokum
Ab Fm Bbm Eb
Yarım kalsada sevgimiz farketmez dostum
Ab Fm Bbm Eb
Bir gün bitecek türkümüz bitecek dostum
Fm
Söylenecek
Bbm Cm
Bir gün ölürsem ki ölürüm
Bbm Cm
Yüzünü gecelerde görürüm
Bbm Cm Bbm Eb Fm
Ellerimi uzatsam sana değmez bilirim
End of song Play again?
Feridun Düzağaç - Beni Rahatta Dinleyin Tabs
NotesX
Harmony analysis
Feridun Düzağaç – Beni Rahatta Dinleyin: key and chord analysis
The song opens on Ab and ends on Fm. 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 F minor side because it comes to rest on Fm, it opens on Ab and Fm is heard 16 times against 11 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | 11× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 18× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 6× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 13× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 16× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 16× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 11× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 18× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 6× |
| 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 | 13× |
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
- Bbm Eb Abii → Vii → V Fmiv → VII ×11
- Eb Ab AbV → Iauthentic cadence FmVII → III ×7
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×5
- Bbm Fm Abii → vi Fmiv → iminor plagal ×1
The move to watch is Bbm → Eb, heard 11 times. From the Fm side it is iv → VII; from the Ab side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Bbm, land on Bb, Db, F — 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 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Ab lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Fm, Eb, Ab; read them as ii–vi–V–I in Ab or iv–i–VII–III in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Eb (ii → V in Ab, iv → VII in Fm): ii → V — the classic preparation of the dominant. The final chord is Fm; the ear comes to rest in Fm.
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.
Feridun Düzağaç - Beni Rahatta Dinleyin 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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