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)
Musa Eroğlu - Zamansız Yağmur - Chord
Key Ab major – F minor Chords Db, Cm, Bbm, Fm, Eb, Ab Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Ab Bbm Cm Eb Db Cm Ben ayrılık istemedim, sebep olanlar utansın Fm Db Eb Fm Db Hazan değdi yaprağıma, mevsim dursun güz utansın Bbm Db Cm Bbm Cm Hazan değdi yaprağıma, mevsim dursun güz utansın Fm Db Eb Fm Db Çürümüş yaprak gibiyim, güz değil bahar utansın Bbm Db Cm Bbm Cm Çatlamış toprak gibiyim, ırmaklar çaylar utansın Ab Bbm Cm Eb Db Cm Dağlar girdi aramıza, taş çürüsün yol utansın Fm Db Eb Fm Db Diken sardı ellerimi, naz etmesin gül utansın Bbm Db Cm Bbm Cm Diken sardı ellerimi, naz etmesin gül utansın Fm Db Eb Fm Db Çiğ düşüyor gözlerimden, ıslanıyor yanaklarım Bbm Db Cm Bbm Cm Kurumuş toprak gibiyim, zamansız yağmur beklerim
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Musa Eroğlu - Zamansız Yağmur Tabs
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Harmony analysis
Musa Eroğlu – Zamansız Yağmur: key and chord analysis
The song opens on Ab 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor because it opens on Ab and Fm is heard 8 times against 2 for Ab. Try reading the chords both ways and see which feels more like home to you.
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 | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 10× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 12× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 14× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 8× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 8× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 10× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 12× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 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 52 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×4
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×4
The move to watch is Eb → Fm, heard 4 times. From the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm); from the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home). 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 Db, land on Db, F, Ab — 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 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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Ab, the song gives away its key from the very first bar. Db, Cm, Bbm, Fm carry the song: IV–iii–ii–vi relative to Ab, VI–v–iv–i relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): deceptive cadence — expected Ab, lands on Fm. It closes on Cm, letting the Ab side have the last word.
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.
Musa Eroğlu - Zamansız Yağmur 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: Musa EroğluMusic: Musa Eroğlu
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