Amo988 - Taş - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Fm
Taş, kör olaydım
            Eb
Sağır olaydııım, taş olaydım
Db
Keşke inanmasaydım
Fm
Taş, kör olaydım
            Eb
Sağır olaydııım, taş olaydım
Db
Böyle yanazmadım
x2

      Fm                      Eb
Dünya fani, mücadeleden sonra sen adi
   Db                    Fm
Çıktın önümü buldun bir enayi
                       Eb    Db
Biraz vicdanın olsaydı bari aahh

       Bbm      Eb                       Cm
Senden sonra, yıkık dökük bir hayat oldu bana
   Fm                        Bbm
Ne can ne mal ne iş ne güç bıraktın
  Eb                         Cm    Db
Nasıl bir insansın sen böyle aman aahh

Fm
Taş, kör olaydım
            Eb
Sağır olaydııım, taş olaydım
Db
Keşke inanmasaydım
Fm
Taş, kör olaydım
            Eb
Sağır olaydııım, taş olaydım
Db
Böyle yanazmadım
x2

Fm  Fm  Eb  Db
x2

Fm
Bir yumuşak kalbim vardı

Keşke senin de olsaydı
Eb
Ateşsin sen gönlümü attım
Db
İçine yandı içime yandı

Fm
Benim beyaz sayfam tertemiz

Girdin sen beni de kirledin
Eb
Aşk olamaz bu kadar dengesiz
Db
Sen benle ne günah işledin

End of song Play again?

Amo988 - Taş Tabs

NotesX

Harmony analysis

Amo988 – Taş: key and chord analysis

The song opens on Fm and ends on Db. 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 opens on Fm and Fm is heard 11 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	2×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	2×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	10×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	11×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	11×
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	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	2×
v	Cm	Minor dominant — soft pull	C · Eb · G	2×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	10×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	11×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 36 times in total; 5 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

Db Fm AbIV → vi FmVI → iVI → i ×8
Bbm Eb Abii → Vii → V Fmiv → VII ×2
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1

The move to watch is Db → Fm, heard 8 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 Eb, land on Eb, G, Bb — 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 opening Fm lays a solid floor for everything that follows. The backbone is Fm, Eb, Db, Bbm — vi–V–IV–ii from the Ab side, i–VII–VI–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 Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. Ending on Db, 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.