Zara - Kurtuldum - Chord

Key Ab major – F minor Chords Cm, Db, Eb, Fm, Bbm, Ab, Bm Easy key C

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Capo 0

Cm  Fm  Fm  Eb  Eb  Db  Bbm  Cm

Cm        Fm     Eb    Db   Cm
Seninle kopardık bütün bağları
            Fm                 Eb
Herşey bitti artık bil bundan sonra

Cm         Eb            Db
Kırıldı gönlümün umut dalları
            Bbm  Db           Cm
Kendine bir sevgi bul bundan sonra

Cm          Ab    Cm          Ab
Geçmişi bir düşün yalnız kalırsan
Db   Bbm  Ab   Db         Cm
Maziyi hatırla zaman bulursan
Fm          Eb        Fm  Bbm
Neyleyim sevgilim pişman olursan
Db        Bm   Db          Cm
Başını taşlara vur bundan sonra

Fm                  Bbm        Eb
Kurtuldum kurtuldum senden böylece
Ab           Db   Bbm        Cm
İbadet başlattım artık her gece
Cm       Fm        Bbm    Eb
Dualarla böyle mutluyum bence
Ab          Db   Bbm        Cm
Tanrıyla aramda aşk bundan sonra

Cm         Fm    Eb   Db   Cm
Bitmesin isterdim umutlarımız
           Fm             Eb
Bitmesin isterdim duygularımız

Cm          Eb               Db
Ne çıkar sel olsa göz yaşlarımız
           Bbm   Db          Cm
Yeniden başlamak zor bundan sonra

End of song Play again?

Zara - Kurtuldum Tabs

NotesX

Harmony analysis

Zara – Kurtuldum: 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.

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 Fm is heard 10 times against 5 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	5×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	9×
biii	Bm	Chromatic colour chordoutside the key	B · D · F#	1×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	17×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	13×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	11×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	10×
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	10×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	5×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	9×
#iv	Bm	Chromatic colour chordoutside the key	B · D · F#	1×
v	Cm	Minor dominant — soft pull	C · Eb · G	17×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	13×
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). 7 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. Bm step outside the scale as colour chords.

Chord movement

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×8
Eb Ab AbV → Iauthentic cadence FmVII → III ×2
Bbm Eb Abii → Vii → V Fmiv → VII ×2
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1

The move to watch is Cm → Fm, heard 8 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → 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 Cm, land on C, Eb, G — 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.
Over Eb, land on Eb, G, Bb — 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 Cm, the song gives away its key from the very first bar. The backbone is Cm, Db, Eb, Fm — iii–IV–V–vi from the Ab side, v–VI–VII–i from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. 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.