Kıraç - Beddua - Chord

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

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Capo 0

        Cm  Db       Cm
Aylar sonraa aynı yerde
          Db      Bbm         Cm
Kalp yerinde ustam eser yok serde
         Cm  Db       Cm
Herkes burdaa yemek vakti
               Db        Bbm          Cm
Bir tabak eksik, şaşırsın soframız gel de

Cm  Db  Eb  Fm             Db
Ha  la  sa  na, şarkılar yazan
          Bbm  Db     Eb  Db  Cm
Kalemim elimee  küser inşaalllah
Cm  Db  Eb  Fm               Db
Bu şehri yaşanmaz kıldın ya bana
         Bbm  Db     Eb  Db  Cm
Uykuna huzur   vermesin  Allaah

Cm  Db  Eb  Fm  Fm  Db  Db  Bbm  Db  Eb  Cm

        Cm    Db        Cm
Adın geçmesin dost meclisinde
           Db       Bbm         Cm
Sayılmasın ibadetin hak secdesinde
         Cm      Db         Cm
Can-ı gönülden ettiğin duaları
         Db       Bbm         Cm
Duymasın Rabbim kandil gecesinde

Cm  Db  Eb  Fm             Db
Ha  la  sa  na, şarkılar yazan
          Bbm  Db     Eb  Db  Cm
Kalemim elimee  küser inşaalllah
Cm  Db  Eb  Fm               Db
Bu şehri yaşanmaz kıldın ya bana
         Bbm  Db     Eb  Db  Cm
Uykuna huzur   vermesin  Allaah

End of song Play again?

Kıraç - Beddua Tabs

NotesX

Harmony analysis

Kıraç – Beddua: key and chord analysis

The song opens on Cm 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: to us the song feels closer to the F minor side because Fm is heard 6 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	9×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	22×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	28×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	10×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	6×
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	6×
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	9×
v	Cm	Minor dominant — soft pull	C · Eb · G	22×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	28×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	10×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 75 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

Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×10
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×5

The move to watch is Db → Eb, heard 10 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 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 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 Cm, the song gives away its key from the very first bar. Db, Cm, Eb, Bbm carry the song: IV–iii–V–ii relative to Ab, VI–v–VII–iv relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. Ending on Cm, the song seals Ab 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.