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)
Kahraman Deniz - Lapa Lapa - Chord
Key Ab major – F minor Chords Bbm, Fm, Cm, Db, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Fm
Sonunu bile bile bu sınırı geçtim
Bbm
İkimize de göre olanını seçtim
Cm
Hiçbir hayalim tabiatına uymaz
Bbm Cm
Onun yalnızca kendine faydası
Fm
Bu sefer kesin gidişim dönüşü olmaz
Bbm
Bir kez acıttı ama ikincisi koymaz
Db
Ve hayatı hayatıma sığmaz
Eb
Her döndüğünde bulunan hiç adam olmaz
Fm Bbm
Lapa lapa kar yağıyor gönlüme ama sevgili görmeyecek
Cm Bbm Cm
Benim ektiğim tohumlar kimlerde filizlenecek
Fm Bbm
Yaka yaka canımı tokatladı ruhumu, asla bilmeyecek
Db Eb
Çektiğim sıkıntıların her biri sebebine geri dönecek
Fm
Gün yüzü görmedim gitti ve bekledim
Bbm
Ben onu sevdiğimden beri gülmedim
Cm
Boyu boyuma göre ama sorun huydan
Bbm Cm
"Çok seven de terk eder!" hadi oradan
Fm
Pembe dudakları aklıma girdi
Bbm
Saklayamadım ki sakatladı beni
Db
Kimi pakladı sevgim
Eb
Yanakları iki sokak ötede bekliyor ve ben öpemem
Fm Bbm
Lapa lapa kar yağıyor gönlüme ama sevgili görmeyecek
Cm Bbm Cm
Benim ektiğim tohumlar kimlerde filizlenecek
Fm Bbm
Yaka yaka canımı tokatladı ruhumu, asla bilmeyecek
Db Eb
Çektiğim sıkıntıların her biri sebebine geri dönecek
End of song Play again?
Kahraman Deniz - Lapa Lapa Tabs
NotesX
Harmony analysis
Kahraman Deniz – Lapa Lapa: key and chord analysis
The song opens on Fm and ends on Eb. 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 opens on Fm and Fm is heard 8 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 12× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 8× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 4× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 8× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 8× |
| 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 | 12× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 8× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 4× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 36 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×4
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×3
The move to watch is Cm → Fm, heard 4 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 Bbm, land on Bb, Db, F — 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.
- Over Cm, land on C, Eb, G — 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 Fm lays a solid floor for everything that follows. Bbm, Fm, Cm, Db carry the song: ii–vi–iii–IV relative to Ab, iv–i–v–VI relative to Fm. 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. It closes on Eb, letting the Ab side have the last word.
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.
Kahraman Deniz - Lapa Lapa 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: Kahraman DenizMusic: Kahraman DenizArrangement: Cenk Çelik
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