Merve Deniz - İnziva - Chord

Key Ab major – F minor Chords Cm, Fm, Db, Bbm, Ab, Eb, Gdim, Gb Easy key C

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Capo 0

Fm  Ab  Cm  Ab  Fm  Fm  Ab  Eb  Cm  Db

Fm                      Cm
Giyin gururun yokken fazla çıplak tenin
Fm                     Cm
Giyin aşkı ört üstüne buz gibi ellerin
Db                      Eb        Fm
Bilirim nasıl yokluk yalnız geceleri
Db            Bbm          Cm
Ama olmuyor dikenlerin açtığı yaralar derin

Fm                        Cm
Yakanda kalsın parmak izlerim
                   Db
Giyin de git uzaklara
      Bbm        Cm
O uzaklar senin evin
         Eb  Fm
Benim bu inziva

Fm                Cm
Kalsın parmak izlerim
                   Db
Giyin de git uzaklara
      Bbm        Gdim
O uzaklar senin evin
  Cm         Fm  Cm  Bbm  Gdim  Cm
Benim bu inzivaaaaaaaaaaaaaaaaaaaaa

Fm                   Gdim
Ah gün geçer de kaybolur günahların
  Db          Bbm      Cm         Gb
Zaman kırar döker ama unutturur seni

End of song Play again?

Merve Deniz - İnziva Tabs

NotesX

Harmony analysis

Merve Deniz – İnziva: key and chord analysis

The song opens on Fm and ends on Gb. 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 opens on Fm and Fm is heard 11 times against 3 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	3×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	5×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	12×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	6×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	3×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	11×
bVII	Gb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Gb · Bb · Db	1×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	3×

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	11×
bII	Gb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Gb · Bb · Db	1×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	3×
III	Ab	Relative major — the bright side	Ab · C · Eb	3×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	5×
v	Cm	Minor dominant — soft pull	C · Eb · G	12×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	6×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	3×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 8 different chords appear 44 times in total; 7 of them sit naturally inside the shared scale. Gb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
Db Fm AbIV → vi FmVI → iVI → i ×1
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×1

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 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.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
On Gb, follow the chord's notes (Gb · Bb · Db) rather than the key's scale — it's a borrowed colour.

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 Fm, the song gives away its key from the very first bar. Cm, Fm, Db, Bbm carry the song: iii–vi–IV–ii relative to Ab, v–i–VI–iv relative to Fm. Gb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. It closes on Gb, 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.

Merve Deniz - İnziva 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: Merve Deniz
Arel Koray Nalbant

Music: Merve Deniz
Arel Koray Nalbant

Arrangement: Can Oflaz

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