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)
Dolu Kadehi Ters Tut - Sen ve Ben - Chord
Key Ab major – F minor Chords Db, Fm, Bbm7 Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm akorunu bu şekilde basabilirsiniz; E--1--| B--2--| G--1--| D--1--| A--3--| E--1--| Db Fm Sen ve ben, uzak bi yer Bbm7 Gitmeli ve görmeliyiz Db Fm Bbm7 Buralara ait miyiz bilmeli öğrenmeliyiz Db Fm Sen ve ben, uzak bi yer Bbm7 Db Fm Bbm7 Buralardan gitmeliyiz kim ne derse desin Db Fm Bbm7 Kim ne derse desin Db Fm Bbm7 Kokun hala üzerimde Db Fm Bbm7 En güzel düşlerimde Db Fm Bbm7 Ruhumun en içinde Db Fm Bbm7 Kalbimden bile derinde Db Fm Bbm7 Belki de önemli değil büyüttüğümüz bu dertler Db Fm Bbm7 Belli ki bizim değil büyüdüğümüz şehirler Db Fm Bbm7 Tüm gözler ıska geçer sanki yokmuşuz gibi Db Fm Bbm7 Kimse özlemez bizi Db Fm Bbm7 Sen ve ben, uzak bi yer Gitmeli ve görmeliyiz Db Fm Bbm7 Buralara ait miyiz bilmeli öğrenmeliyiz Sen ve ben, uzak bi yer Db Fm Bbm7 Buralardan gitmeliyiz kim ne derse desin Db Fm Bbm7 Db Fm Bbm7 Kaygılar aldılar ruhumu götürdüler kim bilir nerelere Db Fm Bbm7 Db Fm Bbm7 Hayallerim, umutlarım topyekün gömüldüler kim bilir nerelere
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Dolu Kadehi Ters Tut - Sen ve Ben Tabs
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Harmony analysis
Dolu Kadehi Ters Tut – Sen ve Ben: key and chord analysis
The song opens on Db and ends on Bbm7. 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 Fm is heard 20 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 | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 20× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 20× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 20× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 20× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 20× |
| 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 | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 20× |
| 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 60 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
- Db Fm AbIV → vi FmVI → iVI → i ×20
The move to watch is Db → Fm, heard 20 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 Db, land on Db, F, Ab — 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 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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Db, the song gives away its key from the very first bar. The chords that keep coming back are Db, Fm, Bbm7; read them as IV–vi–ii7 in Ab or VI–i–iv7 in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. Ending on Bbm7, the song seals Ab as home.
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.
Dolu Kadehi Ters Tut - Sen ve Ben 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: Dolu Kadehi Ters TutMusic: Dolu Kadehi Ters Tut
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