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)
Okan Kobatan - Veda - Chord
Key Ab major – F minor Chords Cm7, Dbmaj7, Fm, Eb, Bbm7, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm7 Dbmaj7 Bbm Cm7
Cm7 Fm
Uzundur geceleri
Dbmaj7 Cm7
Sabahı olmaz
Fm
Sevdası tüter sehrimin
Dbmaj7 Cm7
Dumanı tütmez
Fm Cm7 Eb
Gidersen bu şehir peşinden gelir
Dbmaj7 Eb Dbmaj7 Bbm7 Cm7
Beni böyle bir başıma bırakıp gitme
Fm
Sinemdeki izlerinle
Cm7
Bir mektup yazsam yüreğimle
Dbmaj7
Ağlamasın kalem kağıt
Bbm7 Eb Dbmaj7 Cm7
Beni böyle bıraaakıp gitme
Cm7 Dbmaj7 Cm7 Dbmaj7 Bbm7 Cm7
x2
Fm
Dar sokaklar çıkmaz yollar
Cm7
Yüreğimde hasret yanar
Dbmaj7
Geceleri bu şehirde
Bbm Eb Dbmaj7 Cm7
Yoldaş olur sabaaahlar
Fm
Sinemdeki izlerinle
Cm7
Bir mektup yazsam yüreğimle
Dbmaj7
Ağlamasın kalem kağıt
Bbm7 Eb Dbmaj7 Cm7
Beni böyle bıraaakıp gitme
Bbm7 Eb Dbmaj7 Cm7
Beni böyle bıraaakıp gitme
End of song Play again?
Okan Kobatan - Veda Tabs
NotesX
Harmony analysis
Okan Kobatan – Veda: key and chord analysis
The song opens on Fm 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: to us the song feels closer to the F minor side because it opens on Fm and Fm is heard 7 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 | 5× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 2× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 17× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 14× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 7× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 7× |
| 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× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 2× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 17× |
| 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 | 14× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 51 times in total; 6 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
- Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×6
- Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×3
- Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×1
- Bbm Eb Abii → Vii → V Fmiv → VII ×1
The move to watch is Cm7 → Fm, heard 6 times. From the Fm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → 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 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 Fm, land on F, Ab, C — 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 first chord is Fm; the ear learns where home is within a second. Cm7, Dbmaj7, Fm, Eb carry the song: iii7–IVmaj7–vi–V relative to Ab, v7–VImaj7–i–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm (iii7 → vi in Ab, v7 → i in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Cm7; 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.
Okan Kobatan - Veda 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: Okan KobatanMusic: Okan Kobatan
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