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)
Nurettin Rençber - Yürürüm - Chord
Key Ab major – F minor Chords C#, Cm, A#m, D#, Fm, G# Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Cm C#
Ardınsıra koştum dönersin diye
A#m C# Cm
Kıyametler koptu, sen hiç duymadın
C#
Gece gündüz geçer hayalin gözümden
A#m C# Cm
Güneşim karardı, sen hiç bilmedin
Cm A#m
Bırak üstüme gelsin çıplak ateşin
D# G# Fm
Günahkar ruhumu yaksın da geçsin
Cm A#m
Dağıtsın içimde kalan ne varsa
C# D# C# Cm
Savursun külümü döksün de geçsin
Fm Cm C# D# C# Cm
Yürürüm gecede, yanarım senin için, ooof
C#
Bilirim yine de
A#m C# Cm
Sen asla dönmeyeceksin, of of of
Cm C#
Koparip göğsünden uzat yüreğini
A#m C# Cm
Kurusun gözyaşım mahşere kadar
C#
Nelere değistim senin hayalini
A#m C# Cm
Bilseydin kalırdın sonsuza kadar
Cm A#m
Bırak üstüme gelsin çıplak ateşin
D# G# Fm
Günahkar ruhumu yaksın da geçsin
Cm A#m
Dağıtsın içimde kalan ne varsa
C# D# C# Cm
Savursun külümü döksün de geçsin
Fm Cm C# D# C# Cm
Yürürüm gecede, yanarım senin için, ooof
C#
Bilirim yine de
A#m C# Cm
Sen asla dönmeyeceksin, of of of
End of song Play again?
Nurettin Rençber - Yürürüm Tabs
NotesX
Harmony analysis
Nurettin Rençber – Yürürüm: key and chord analysis
The song opens on Cm 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: to us the song feels closer to the F minor side because Fm is heard 4 times against 2 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# | 2× |
| ii | A#m | Supertonic — prepares the dominant | A# · C# · E# | 10× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 18× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 20× |
| V | D# | Dominant — strongest pull home | D# · G · A# | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | G# | Relative major — the bright side | G# · B# · D# | 2× |
| iv | A#m | Subdominant — moves away from home | A# · C# · E# | 10× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 18× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 20× |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 60 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
- C# D# AbIV → VIV → V FmVI → VIIVI → VII ×4
- D# G# AbV → Iauthentic cadence FmVII → III ×2
- A#m D# Abii → Vii → V Fmiv → VII ×2
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
The move to watch is C# → D#, heard 4 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before 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 C#, land on C#, E#, G# — 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 A#m, land on A#, C#, E# — 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 Cm lays a solid floor for everything that follows. The chords that keep coming back are C#, Cm, A#m, D#; read them as IV–iii–ii–V in Ab or VI–v–iv–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → D# (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. Ending on Cm, 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.
Nurettin Rençber - Yürürüm 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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