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)
Shawty - Kabul Olan Tek Duamsın - Chord
Key Ab major – F minor Chords Cm, Fm, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Fm Bbm Fm Bbm
Fm Cm
Shawty gözlerin alev gibi
Bbm Cm
İçimi yakar kül olurum sana
Fm Cm
Sensiz hiç bi' şeyin bi' anlamı yok gibi
Bbm Cm
Yüzüm hiç gülmez olmazsan yanımda
Fm Cm
Olmazsan yanımda düşünmek istemem
Bbm Cm
Sensiz bir dakka daha geçmez çünkü zaman
Fm Cm
Cennetinde hapsoldum kurtulmak istemem
Bbm Cm
Hiç işlemem günah ederim hep dua ya
Fm Cm
Ettim hep dua, kabul olan tek duamsın
Bbm Cm
Kalbimde taşıdığım en güzel duygularsın
Fm Cm
Karanlıktan korkmam aydınlığındaysam
Bbm Cm
Yağmurdan ıslanmam sen yanımda varsan
Fm Cm
Kurtardın dertlerden yapalım ne dersen
Bbm Cm
Adımlarım sana doğru koşmayı bırakmaz
Fm Cm
Oldum sanki sersem aşkın delirtti resmen
Bbm Cm
Bu kale yıkılmaz gülümse yeter sen (gülümse yeter)
Fm
Düşmesin gözyaşın asla yere bi' damla
Bbm Cm
Beni tut ellerimden boşluğa bırakma
Fm Cm Bbm
Shawty her şey senle güzel
Seni sevmeme artık bi' izin ver
Fm Cm
Shawty gözlerin alev alev gibi
Bbm Cm
İçimi yakar kül olurum sana
Fm Cm
Sensiz hiç bi' şeyin bi' anlamı yok gibi
Bbm Cm
Yüzüm hiç gülmez olmazsan yanımda
End of song Play again?
Shawty - Kabul Olan Tek Duamsın Tabs
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Harmony analysis
Shawty – Kabul Olan Tek Duamsın: key and chord analysis
The song opens on Fm and ends on Cm. 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 14 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 | 14× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 22× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 14× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 14× |
| 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 | 14× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 22× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| 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 50 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×10
- Bbm Fm Abii → vi Fmiv → iminor plagal ×3
The move to watch is Cm → Fm, heard 10 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 Bbm, 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
The opening Fm lays a solid floor for everything that follows. The backbone is Cm, Fm, Bbm — iii–vi–ii from the Ab side, v–i–iv from the Fm side. 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. Ending on Cm, 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.
Shawty - Kabul Olan Tek Duamsın 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: ShawtyMusic: ShawtyArrangement: Murat Gencay
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