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)
Perdenin Ardındakiler - Derdime - Chord
Key Ab major – F minor Chords Fm, Ab, Db, Eb Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Ab Db Eb
Fm
Seni özlemiştim
Ab Db
Eline değmemişti elim
Yüzünü görmemiştim
Eb Fm
Ağzını öpmemiştim henüz
Fm
Şimdi ben değiştim
Ab Db
Yine anımsıyorum dünü
Eb
Gözümü sen bürüdün ama
Fm
Hazan gelmemişti henüz
Ab Db
Henüz, henüz beni sevmemiştin
Eb Fm
Elma ağaçtan düşmemişti
Fm Ab Db
Bir yol bulsam kendime
Eb Fm
Kaçsam geçmişimden yine
Ab Db
Bu dünyadan uzaklaşsam
Eb Fm
Bir çare olsan derdime
Fm Ab Db Eb
Fm
Önüme bakmamıştım
Ab Db
Ama düşmemiştim daha
Eb
Ruhuma sapladın kalbini
Fm
Beni öldüremedin ama
Fm
İçmeyi bırakmıştım
Ab Db
Böyle geçmiyor ömür
Eb
Sevgiyi sindirememişsin
Fm
Vakit gelmemiş henüz
Ab Db
Henüz, henüz beni sevmemiştin
Eb Fm
Elma ağaçtan düşmemişti
Fm Ab Db
Bir yol bulsam kendime
Eb Fm
Kaçsam geçmişimden yine
Ab Db
Bu dünyadan uzaklaşsam
Eb Fm
Bir çare olsan derdime
End of song Play again?
Perdenin Ardındakiler - Derdime Tabs
NotesX
Harmony analysis
Perdenin Ardındakiler – Derdime: 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 18 times against 12 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 | 12× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| 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 | 12× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 18× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| 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 | 12× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| 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 | 12× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 12× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 54 times in total; 4 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 ×12
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×12
The move to watch is Eb → Fm, heard 12 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 Ab, land on Ab, C, Eb — 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.
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 first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are Fm, Ab, Db, Eb; read them as vi–I–IV–V in Ab or i–III–VI–VII 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. 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.
Perdenin Ardındakiler - Derdime 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: Doruk EreşterMusic: Direnc
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