Pinhani - Peki Madem - Chord

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

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Capo 0

Db   Ab   Eb   Db   Ab

Fm
Kaçıncı günüm kaçıncı ayım
                                     Db
Vaktin ne kadar farkında mıyım, bilebilsen
     Ab
Peki madem
Fm
Seninle nasıl vedalaşırız
                                 Db
Belki bir ömür paylaşırız, ya gidersen
     Ab
Peki madem

Eb
Yürekli ol beni karşına al, düşüncelerini üstüme sal
Db                         Bbm         Ab
Ben böyle kabul ettim seni zaten, peki madem

Fm   Db   Ab   Fm   Db   Ab

Fm
Evet diyemem hayır diyemem      
                                 Db
Ama bir türlü memnun edemem seni bazen
     Ab
Peki madem
Fm
Yakında mısın uzakta mısın
                                    Db
Sana mecburum farkında mısın, bunu bilsen
     Ab
Peki madem

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Pinhani - Peki Madem Tabs

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Harmony analysis

Pinhani – Peki Madem: key and chord analysis

The song opens on Db and ends on Ab. 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 Ab major side because it comes to rest on Ab and Ab is heard 9 times against 6 for Fm. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.

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	9×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	1×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	9×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	2×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	6×
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	6×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	9×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	1×
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	9×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	2×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 27 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 Ab AbIV → Iplagal cadence FmVI → III ×8

The move to watch is Db → Ab, heard 8 times. From the Ab side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Fm side it is VI → III. 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 Ab, land on Ab, C, Eb — 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

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The first chord is Db; the ear learns where home is within a second. The chords that keep coming back are Db, Ab, Fm, Eb; read them as IV–I–vi–V in Ab or VI–III–i–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ab (IV → I in Ab, VI → III in Fm): plagal cadence — the soft 'amen' ending. It closes on Ab, 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.