Funda Arar - Doldur Yüreğimi - Chord

Key Ab major – F minor Chords Dbmaj7, Cm, Bbm7, Eb, Db, Bbm, Ab Easy key C

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Capo 0

Eb  Bbm7  Eb  Db
Dbmaj7  Dbmaj7  Cm  Cm  Bbm7  Dbmaj7  Eb  Bbm  Cm

Cm
 Bazen bir söz bir tek kelime
Bbm7       Dbmaj7
Bir ömrü değiştirir
Cm
 2 ayrı yaralı yürek tekrar
Bbm7     Dbmaj7
Bir anda birleşir

Bbm7
Ben her zaman aynı renkken
Dbmaj7
Ya siyahsın sen ya da beyaz
Cm
Sende bence anladın biraz
Ab
Ne olursan vazgeçmem

Dbmaj7
Doldur yüreğimi yüreğim sensiz bomboş bir yer
Cm
Ben sana bakınca anlarım cennet nasıl bir yer
Bbm7                 Dbmaj7
Yap sen gereğini nefesim son kez senin olsun
  Eb          Bbm7      Cm
Aşkım hayat sana feda olsun

Dbmaj7
Doldur yüreğimi yüreğim sensiz bomboş bir yer
Cm
Ben sana bakınca anlarım cennet nasıl bir yer
Bbm7                 Dbmaj7
Yap sen gereğini nefesim son kez senin olsun
   Eb            Bbm7       Cm
Kalbim vazgeç gerçek veda olsun

End of song Play again?

Funda Arar - Doldur Yüreğimi Tabs

NotesX

Harmony analysis

Funda Arar – Doldur Yüreğimi: key and chord analysis

The song opens on Eb 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 Ab major side because Ab is heard 1 times while Fm never appears. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.

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	1×
ii7	Bbm7	Supertonic — prepares the dominant	Bb · Db · F · Ab	9×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	1×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	10×
III	C	Chromatic colour chordoutside the key	C · E · G	—
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	10×
IV	Db	Subdominant — moves away from home	Db · F · Ab	1×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	5×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	—
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	—
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	1×
iv7	Bbm7	Subdominant — moves away from home	Bb · Db · F · Ab	9×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	1×
v	Cm	Minor dominant — soft pull	C · Eb · G	10×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VImaj7	Dbmaj7	Submediant — warm colour	Db · F · Ab · C	10×
VI	Db	Submediant — warm colour	Db · F · Ab	1×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	5×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 37 times in total; 7 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

Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×3
Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×1

The move to watch is Dbmaj7 → Eb, heard 3 times. From the Ab side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Fm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Dbmaj7, 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 Bbm7, land on Bb, Db, F — 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

Starting on Eb, the song gives away its key from the very first bar. The chords that keep coming back are Dbmaj7, Cm, Bbm7, Eb; read them as IVmaj7–iii–ii7–V in Ab or VImaj7–v–iv7–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbmaj7 → Eb (IVmaj7 → V in Ab, VImaj7 → VII in Fm): IV → V — the lift that builds tension before home. The final chord is Cm; the ear comes to rest in Ab.

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.