Manuş Baba - Değmez - Chord

Key Ab major – F minor Chords Fm, Cm, Db, Bbm, Bb, Eb Easy key G (capo 1)

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Capo 0

Bbm   Cm   Fm   Db   Db   Cm   Fm

Bbm  Cm  Fm   Db
Değm ez  değ mez
Db   Cm     Fm
Güzelim sana değmez
Bbm     Cm          Fm        Db
Kırmızı rujlarla boyalı yataklarda 
Db        Cm       Fm
Saçılmış nar gibi, paramparça 

Bbm    Cm     Fm        Db
Varsın olsun bu da böyle olsun 
Db      Cm     Fm
Güzeli yaşamak bizlere kalsın
Bbm    Cm        Fm
Elem keder anam hepsi bir ağızdan
Db   Eb  Db  Eb
Değmez, değmez 

Bb        Fm       Bb        Fm
Gelmezsen de olur, dönmezsen de olur 
Bb              Fm
Bu kalp sensiz de atar
     Bb   Eb             Fm
Baba dön baba geri geri dön
     Bb   Eb             Fm
Geri dön baba geri geri dön 

Bbm  Cm   Fm   Db
Dön mez  dön  mez 
Bbm   Cm        Fm
Ah  gidenler geri dönmez
Bbm    Cm     Fm      Db 
Kesilen bu nefesimin ardında
Db      Cm           Fm
Çırılçıplak kalmış bütün vücutlar

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Manuş Baba - Değmez Tabs

NotesX

Harmony analysis

Manuş Baba – Değmez: key and chord analysis

The song opens on Bbm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 comes to rest on Fm and Fm is heard 18 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	8×
V/V	Bb	Secondary dominant V/V — leads to Ebsecondary dominant	Bb · D · F	5×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	13×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	13×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	4×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	18×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	18×
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×
IV	Bb	Major IV — Dorian / melodic-minor colourmodal colour	Bb · D · F	5×
v	Cm	Minor dominant — soft pull	C · Eb · G	13×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	13×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	4×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 61 times in total; 5 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×13
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2

The move to watch is Cm → Fm, heard 13 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — 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

The first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are Fm, Cm, Db, Bbm; read them as vi–iii–IV–ii in Ab or i–v–VI–iv in Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Fm, the song seals Fm 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.