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)
Teoman - Terlemeden Sevişenler - Chord
Key Ab major – F minor Chords Fm, D#, G#, Cm, A#m Easy key C
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Key: Ab | Fm
Capo: 0
Fm G# D# Fm
Saat 11 miş meğerse, fildişinden kulelerde sönüyor ışıklar bak
Fm G# D# Fm
Geceye günaydın diyelim gözlerinde çapak varsa hemen silelim
D# Cm Fm
Sıradan ölümlüleriz, büyümüş kimyası değişmiş
D# Cm Fm
Yazarız banıp kanımıza, tutkunuzdur yazgımıza
A#m D#
Nasıl anlasınlar seni beni acıkmadan yiyenler
G# Fm
Uyumadan önce ayaküstü terlemeden sevişenler
Fm G# D#
Niye külçe gibi kalpleri, kurumuş ağızları dilleri hepsi
Fm
Yorgun yaşamamaktan
G# D#
Boşver anlamasınlar seni ben anlarım bakışından
Fm
Bilirim her hücreni
Fm G# D#
Nasıl görecekler seni, kapalıyken sımsıkı kalpleri
Fm
Boşver dişle kendi fünyeni
Fm G# D#
Zaten bir gün her şey biter, kabul edenler etmeyenler
Fm
Kabul edilmiştir
End of song Play again?
Teoman - Terlemeden Sevişenler Tabs
NotesX
Harmony analysis
Teoman – Terlemeden Sevişenler: key and chord analysis
The song opens on Fm and ends on Fm. 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 both starts and finishes on Fm and Fm is heard 14 times against 7 for Ab. 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 | G# | Tonic — home | G# · B# · D# | 7× |
| ii | A#m | Supertonic — prepares the dominant | A# · C# · E# | 1× |
| 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 | — |
| V | D# | Dominant — strongest pull home | D# · G · A# | 9× |
| 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 | G# | Relative major — the bright side | G# · B# · D# | 7× |
| iv | A#m | Subdominant — moves away from home | A# · C# · E# | 1× |
| 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 | — |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 9× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 33 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
- D# Fm AbV → videceptive cadence FmVII → iAeolian arrival ×6
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
- D# G# AbV → Iauthentic cadence FmVII → III ×1
- A#m D# Abii → Vii → V Fmiv → VII ×1
The move to watch is D# → Fm, heard 6 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 D#, land on D#, G, A# — the chord's own tones always sound right on strong beats.
- Over G#, land on G#, B#, D# — 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
Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are Fm, D#, G#, Cm; read them as vi–V–I–iii in Ab or i–VII–III–v in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on D# → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. The final chord is Fm; the ear comes to rest in Fm.
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.
Teoman - Terlemeden Sevişenler 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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