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)
Kurtuluş Kuş - Masamda Resmin Nezaket Kuş - Chord
Key Ab major – F minor Chords Cm7, Dbmaj7, Bbm7, Bb7, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Dbmaj7 Masamda resmin iki kadeh içtim Cm7 Ben bu yolları çoktan geçtim Bb7 Gözlerimden akan yaşları sildim Cm7 Dbmaj7 Bbm7 Cm7 Beeen seni çok sevdim ben Cm7 Görmezden gelindiğimi, aşkından yenildiğimi Eb Sevginden delirdiğimi, görmem çok zaman aldı Bbm7 Çaresiz bakışlarımı, manasız dalışlarımı Cm7 Sensiz uyanışlarımı, görmem çok zaman aldı Dbmaj7 Masamda resmin iki kadeh içtim Cm7 Ben bu yolları çoktan geçtim Bb7 Gözlerimden akan yaşları sildim Cm7 Dbmaj7 Bbm7 Cm7 Beeen seni çok sevdim ben Dbmaj7 Ayrılık kapıda ne gelir elden Cm7 Derdime bir dert ekleme lütfen Bbm7 Cm7 Sende gidersen kime sarılırım ben Dbmaj7 Bbm7 Cm7 Tek sarıldığım ten
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Kurtuluş Kuş - Masamda Resmin Nezaket Kuş Tabs
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Harmony analysis
Kurtuluş Kuş – Masamda Resmin Nezaket Kuş: key and chord analysis
The song opens on Dbmaj7 and ends on Cm7. 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.
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 | 5× |
| V7/V | Bb7 | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F · Ab | 2× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 11× |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 1× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| 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 | 5× |
| IV7 | Bb7 | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F · Ab | 2× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 11× |
| 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 | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 25 times in total; 4 of them sit naturally inside the shared scale. Bb7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Dbmaj7, land on Db, F, Ab — 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Dbmaj7, the song gives away its key from the very first bar. The backbone is Cm7, Dbmaj7, Bbm7, Bb7 — iii7–IVmaj7–ii7–V7/V from the Ab side, v7–VImaj7–iv7–IV7 from the Fm side. Bb7 adds a moment of surprise: secondary dominant V/V — leads to Eb. Ending on Cm7, 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.
Kurtuluş Kuş - Masamda Resmin Nezaket Kuş 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: Yusuf Alp, Nihat SülünMusic: Yusuf Alp, Nihat SülünArrangement: İbrahim Küçükoğlu
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