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)
Cem Belevi - Şeytan - Chord
Key Ab major – F minor Chords Fm, Dbmaj7, Bbm, C7 Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Dbmaj7
Fm Dbmaj7
Firar ettim, bu cezayı hakettim mi
Bbm
İblis miyim? Bi melek mi
C7 Fm
Tek bildiğim onu, özledim
Dbmaj7
İhanetin bi farkı yok
Bbm
Cinayetten failim o ve gerçekten
C7 Fm
Katilimi ben çok özledim
Fm
Diyemiyorum sana yine benim olsana
Dbmaj7
İzliyorum kayıp giden hayatımı, uzaktan gururumla
Bbm
Direniyorum sana ne dönebiliyorum
C7
Her gün biraz daha ölüyorum
Fm Dbmaj7
Yemin ettim faydası yok
Bbm
Kabul ettim bu gerçeği
C7 Fm
O bir şeytan cehenneminde çok inledim
Fm
Diyemiyorum sana yine benim olsana
Dbmaj7
İzliyorum kayıp giden hayatımı, uzaktan gururumla
Bbm
Direniyorum sana ne dönebiliyorum
C7
Her gün biraz daha ölüyorum
Fm
Kaçıyorum aynalardan
Daha aşağılık mıyım aldatandan diye
Dbmaj7
Soruyorum aynı şeyi bin kere
İliklerime kadar işlemen niye
Bbm
Çıkamıyorum zihnimden kurtulamıyorum gerçeğini bilmekten
C7
Utanıyorum her şeye rağmen ayna da seven
Gözlerimi görmekten
Fm
Hem beni hem kendini yaktın
Cehennemin çukuruna attın
Dbmaj7
Bile bile azabını seviyorsam
Bende ruhumu şeytana sattım
Bbm
Bildiğim herşeyimi verdiğim benliğim
Uçurumuna gidiyor
C7
Öyle bir Yanlış yaptın ki
Dilimin Ucuna geliyor
Fm
Diyemiyorum sana yine benim olsana
Dbmaj7
İzliyorum kayıp giden hayatımı, uzaktan gururumla
Bbm
Direniyorum sana ne dönebiliyorum
C7
Her gün biraz daha ölüyorum
End of song Play again?
Cem Belevi - Şeytan Tabs
NotesX
Harmony analysis
Cem Belevi – Şeytan: key and chord analysis
The song opens on Fm and ends on C7. 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)
- #7 = E (harmonic-minor leading tone from the V chord)
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, Fm is heard 11 times while Ab never appears and the major V chord points straight at Fm. 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 | 8× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 8× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 9× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 11× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 11× |
| 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 | 8× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 8× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 9× |
| 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). 4 different chords appear 36 times in total; 3 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.
Chord movement
- Bbm C7 Abii → V7/vi Fmiv → V7iv → V ×8
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×7
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×1
The move to watch is Bbm → C7, heard 8 times. From the Fm side it is iv → V7 (iv → V: the minor side's tension builder); from the Ab side it reads ii → V7/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 Fm, land on F, Ab, C — 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- When C7 comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.
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
The first chord is Fm; the ear learns where home is within a second. Fm, Dbmaj7, Bbm, C7 carry the song: vi–IVmaj7–ii–V7/vi relative to Ab, i–VImaj7–iv–V7 relative to Fm. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Bbm → C7 (ii → V7/vi in Ab, iv → V7 in Fm): iv → V — the minor side's tension builder. The final chord is C7; the ear comes to rest in Ab.
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.
Cem Belevi - Şeytan 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: Cem BeleviMusic: Cem BeleviArrangement: İbrahim Küçükoğlu
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