Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Aşkın Nur Yengi - Allah'tan Kork (Mehmet Erdem) - Chord
Key Db major – Bb minor Chords Fm, Bbm, Gb, Ebm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Fm Bbm Fm Bbm
Fm Bbm
Görür görmez olan oldu
Fm Bbm
Ay tutuldu, kalp tutuldu
Fm Gb
Bir saat durdu yüzyıllık
Ebm Fm
Ben o gün bugün leylayım
Fm Bbm
Ben kendimi kurban verdim
Fm Bbm
Sen oldum, sende kayboldum
Fm Gb
Yalnız uçmayı öğrendim
Ebm Fm
Kanatlarım varmış meğer benim
Fm Gb
Gemiler yanaşır limanlarıma
Ebm
Seni getirir, getirir
Fm
Geri götürür
Fm Gb
Dediler hani, denizin nerede
Ebm
Denizim benim
Fm
Bu su benden dökülür
Fm Gb
Allah’tan kork
Fm Gb
Çok sevdim çok
Fm Bbm Ebm
Sen sevemiyorsun ya kimseyi
Fm
Kıymetin yok
End of song Play again?
Aşkın Nur Yengi - Allah'tan Kork (Mehmet Erdem) Tabs
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Harmony analysis
Aşkın Nur Yengi – Allah'tan Kork (Mehmet Erdem): key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 7 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 5× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 18× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 6× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 7× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 7× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 5× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 18× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 6× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 36 times in total; 4 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
- Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×7
The move to watch is Fm → Bbm, heard 7 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over Fm, land on F, Ab, C — 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.
- Over Gb, land on Gb, Bb, Db — 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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em 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 opening Fm lays a solid floor for everything that follows. The backbone is Fm, Bbm, Gb, Ebm — iii–vi–IV–ii from the Db side, v–i–VI–iv from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Fm, the song seals Db 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.
Aşkın Nur Yengi - Allah'tan Kork (Mehmet Erdem) 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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