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)
Deniz Tekin - Denizlerin Dalgasıyım - Chord
Key Ab major – F minor Chords Fm, Bbm, Eb, Ab, Db Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm
Sevinmesin ey zalımlar
Bbm Fm Ab Eb Fm
Öldüğüme benim benim
Fm Bbm
Yiğit ölmez kolay kolay
Db Eb Fm
Ben ölmedim ki ben ölmedimki
Fm Bbm
Bakmayın suskunluğuma
Ab Bbm
Bakmayın durgunluğuma
Db
Bedel verdim her kavgada
Eb Fm
Yenilmedim ki
Fm Bbm
Denizlerin dalgasıyım
Ab Bbm
Ben halkımın kavgasıyım
Db
Yarınların sevdasıyım
Eb Fm
Yenilmedim ki
Fm Bbm Ab Bbm Bbm Db Eb Fm
Fm
Gelir günler gelir elbet
Bbm Fm Ab Eb Fm
Gör o zaman beni beni
Fm Bbm
Bana neyler zalım felek
Db Eb Fm
Ben ölmedim ki ben ölmedimki
Fm Bbm
Bakmayın suskunluğuma
Ab Bbm
Bakmayın durgunluğuma
Db
Bedel verdim her kavgada
Eb Fm
Yenilmedim ki
Fm Bbm
Denizlerin dalgasıyım
Ab Bbm
Ben halkımın kavgasıyım
Db
Yarınların sevdasıyım
Eb Fm
Yenilmedim ki
End of song Play again?
Deniz Tekin - Denizlerin Dalgasıyım Tabs
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Harmony analysis
Deniz Tekin – Denizlerin Dalgasıyım: 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.
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 20 times against 7 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 | 7× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 15× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 7× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 9× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 20× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 20× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 7× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 15× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 7× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 9× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 58 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×9
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×7
- Bbm Fm Abii → vi Fmiv → iminor plagal ×2
The move to watch is Eb → Fm, heard 9 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Bbm, land on Bb, Db, F — 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
- 4 semitones up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, Bbm, Eb, Ab; read them as vi–ii–V–I in Ab or i–iv–VII–III in 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): Aeolian arrival — rises a whole tone into home. 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.
Deniz Tekin - Denizlerin Dalgasıyım 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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Lyrics: Aşık Mehmet ÖzcanMusic: Aşık Mehmet Özcan
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