Ezhel - Allah'ından Bul - Chord

Key Ab major – F minor Chords Dbmaj7, Cm, Fm Easy key C

Add to Repertoire

No ratings yet

or your user informations

Capo 0

          Dbmaj7
Kötü insanlar kötü
            Cm
Bunu aklım almaz hiç
              Fm
Otu boku yargılarlar

Bizi kötü algılarlar
                  Dbmaj7
Hatta ne yaparsan yap
                         Cm
Memnun edemezsin kimseyi aynı anda
                  Fm
Bir sürü küfür de saydım ama

Hiçbiri bir türlü etmez fayda
              Dbmaj7
Yani ne desem boş
                        Cm
İstediğin kadar et beni linç
                     Fm
Edemezsin beni parça pinçik

Hain dolu etraf hıncahınç
                    Dbmaj7
Aynı anda duyarlar övünç
                          Cm
Derler şimdi "g..ü kalktı"
                      Fm
Düşman dolu önüm arkam

Diyecek yok sözüm artık

                  Dbmaj7  Cm
Derim Allah’ından bul
            Fm
Allah’ından bul
                    Dbmaj7
Ben seni bulmadan önce
                Cm
Seni bulmadan önce
                Fm
Seni bulmadan önce

Seni bulmadan önce
                  Dbmaj7  Cm  Fm
Derim Allah’ından bul

         Dbmaj7
Cam gibiydim kırdılar beni
      Cm
Keskinleştim oldum çok keskin
        Fm
İki kişiden fazla yok dostum

Hepinizde Salieri Kompleksi
           Dbmaj7
Resmen içi ekşi işi eksik hepsinin
      Cm
Uğraşamam bile her günüm action
          Fm
Yerimde olsan bir gün bile duramazdın

Elimde olsa sana verirdim aklımı
        Dbmaj7
Değilim haklı peki değilim haklı
        Cm
Alayı salak mı lan? Beynim aktı
     Fm
Eğri doğru ne ki? Kim taktı?

Herkes bir şeyler der
            Dbmaj7
Allah’ından bul
               Cm
Dışardayım ama bak zihinler hapis
                Fm
Takamam sizleri yakarım kanabis

Silahım müzikken olamam trrst

            Dbmaj7  Cm
Allah’ından bul
            Fm
Allah’ından bul
                    Dbmaj7
Ben seni bulmadan önce
                Cm
Seni bulmadan önce
                Fm
Seni bulmadan önce

Seni bulmadan önce
                  Dbmaj7  Cm  Fm
Derim Allah’ından bul

End of song Play again?

Ezhel - Allah'ından Bul Tabs

NotesX

Harmony analysis

Ezhel – Allah'ından Bul: key and chord analysis

The song opens on Dbmaj7 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F minor side because it comes to rest on Fm and Fm is heard 14 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	—
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	14×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	14×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	14×
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	14×
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	—
v	Cm	Minor dominant — soft pull	C · Eb · G	14×
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	14×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	—

Analysis

The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 42 times in total; 3 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

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×14

The move to watch is Cm → Fm, heard 14 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. 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 Fm, land on F, Ab, C — 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

The opening Dbmaj7 lays a solid floor for everything that follows. The backbone is Dbmaj7, Cm, Fm — IVmaj7–iii–vi from the Ab side, VImaj7–v–i from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. 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.