Yaşar - Kör Bıçak - Chord

Key Ab major – F minor Chords C, Ab, Fm, Eb7, Bbm, Dbmaj7, Fm7, Gm7b5 … Easy key C

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Capo 0

Fm  Ab  Dbmaj7  Gm7b5  C7

Fm
Bir gün oldu bir gün daha
C
Bir günahtı her gün daha
Eb7
Bir gün aktı gözyaşlarım
Ab      C
Durmadı durmadı

Fm
Yemin olsun bir gün daha
C
Dedim olsun bir gün daha
Eb7
Senede bir bir gün daha
Ab     C
Olmadı olmadı

Bbm     Eb7
Önlerime duvarlar örseler
Ab         Fm7
Kara sevdam her gün öldürseler
Dbmaj7     Bbm
Kör bıçağım kimseleri kesemem
C
Beni yine beni yine seninle (teninle) bileseler

Bbm     Eb7
Gözlerimi kor demirle delseler
Ab     Fm7
Üzerimi topraklarla örtseler
Dbmaj7     Bbm
Saplı durur rengi gözlerinin
C                                       Fm
Sana kayar sana kaçar yine deli aklım benim

End of song Play again?

Yaşar - Kör Bıçak Tabs

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Harmony analysis

Yaşar – Kör Bıçak: 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)
#7 = E (harmonic-minor leading tone from the V chord)

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, Fm is heard 6 times against 5 for Ab and the major V chord points straight at Fm. 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	5×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	4×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	6×
V7/vi	C7	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G · Bb	1×
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	3×
V7	Eb7	Dominant — strongest pull home	Eb · G · Bb · Db	4×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	4×
vi7	Fm7	Relative minor — the melancholy side	F · Ab · C · Eb	2×
viiø7	Gm7b5	Leading-tone chord — tension	G · Bb · Db · F	1×

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	4×
i7	Fm7	Tonic — home	F · Ab · C · Eb	2×
iiø7	Gm7b5	Supertonic — prepares the dominant	G · Bb · Db · F	1×
III	Ab	Relative major — the bright side	Ab · C · Eb	5×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	4×
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	6×
V7	C7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G · Bb	1×
VImaj7	Dbmaj7	Submediant — warm colour	Db · F · Ab · C	3×
VII7	Eb7	Subtonic — steps back to the tonic	Eb · G · Bb · Db	4×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 9 different chords appear 30 times in total; 7 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C / C7 is V/vi, a secondary dominant heading for Fm.

Chord movement

Eb7 Ab AbV7 → Iauthentic cadence FmVII7 → III ×4
C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×2
Bbm Eb7 Abii → V7ii → V Fmiv → VII7 ×2
Bbm C Abii → V/vi Fmiv → Viv → V ×2
C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×1
Gm7b5 C7 Abviiø7 → V7/vi Fmiiø7 → V7ii° → V ×1

The move to watch is Eb7 → Ab, heard 4 times. From the Fm side it is VII7 → III; from the Ab side it reads V7 → I (authentic cadence: the strongest arrival 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 C, land on C, E, G — 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
When C7 comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.

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

The first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are C, Ab, Fm, Eb7; read them as V/vi–I–vi–V7 in Ab or V–III–i–VII7 in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Eb7 → Ab (V7 → I in Ab, VII7 → III in Fm): authentic cadence — the strongest arrival 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.