Tarkan - Verme - Chord

Key Ab major – F minor Chords Fm, C#, D#, Cm, Eb Easy key G (capo 1)

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Capo 0

Fm                       Cm
Sebebinden doğmuş oldum seçmeden
D#          C#              Fm    
Çekeceğim derdim nedir bilmeden
                        Cm
Yüklediğin yükle yıkıldım kaldım aman
D#          C#            Fm    
Vereceksen akıl verme istemem
 
Fm      Eb     Fm       Eb
Verme, verme, verme, akıl verme
C#          D#         C#            Fm
Vereceksen huzur ver, vereceksen huzur ver
 
Fm                      Cm
Azı karar çoğu zarar diyenler
D#              C#           Fm   
Niye çok alırlar hep az verirler
                    Cm
Akla ikna olup aşkı üzenler aman
D#            C#             Fm   
Sanma bizden daha mutlu gezerler
 
Fm      Eb      Fm       Eb
Verme, verme, verme, akıl verme
C#         D#          C#            Fm
Vereceksen huzur ver, vereceksen huzur ver
 
Fm                           Cm
Karı nerden bilsin zarardan dönen
D#           C#               Fm   
Döneceksen şimdi dön ben beklemem
                     Cm
Kovulur mu gönül konduğu yerden aman
D#          C#            Fm   
Vereceksen akıl verme istemem

Fm      Eb      Fm       Eb
Verme, verme, verme, akıl verme
C#         D#          C#            Fm
Vereceksen huzur ver, vereceksen huzur ver

End of song Play again?

Tarkan - Verme Tabs

NotesX

Harmony analysis

Tarkan – Verme: 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 18 times while Ab never appears. 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	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
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	C#	Subdominant — moves away from home	C# · E# · G#	12×
V	D#	Dominant — strongest pull home	D# · G · A#	9×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	6×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	18×
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	18×
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	—
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	C#	Submediant — warm colour	C# · E# · G#	12×
VII	D#	Subtonic — steps back to the tonic	D# · G · A#	9×
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). 5 different chords appear 51 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

C# Fm AbIV → vi FmVI → iVI → i ×9
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×3
C# D# AbIV → VIV → V FmVI → VIIVI → VII ×3

The move to watch is C# → Fm, heard 9 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 C#, land on C#, E#, 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.

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

The opening Fm lays a solid floor for everything that follows. Fm, C#, D#, Cm carry the song: vi–IV–V–iii relative to Ab, i–VI–VII–v relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. Ending on Fm, the song seals Fm 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.