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)
Mert Kıyak - Gel - Chord
Key Ab major – F minor Chords Eb, Fm, Db Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm
Ben yağmurları durdururum
Eb
Kopamıyorum nedense senden
Db
Gel güneşini al yanında
Eb
Sol yanımda sen bir tarafım engel
Fm
Yine seninle başladım
Eb
Yeryüzünde düne bir damla
Aktı yine ve gözlerimden
Db
Unuttukça özledim
Umutlarımı öngörürdüm
Eb
Senin içinde ben gün oysa
Sende bende bir ömürdün
Fm
Sevgim en derinde
Serdiğinde vergim iyi tavırdır
Eb
Sen gidince yar gözümde
Bu gece sen kalırdın
Db
Mutluluğum şu an sende
Desem de yine arındım
Eb
Kalbimde acı bir mutluluk
İçimde sen barındın
Fm
Gülerken kalabalıktık ağlarken
Eb
Yanlız oysa giderken hava
Ilıktı sağım solum bak sen hala
Db
Ben hala sendeyim kaybedende
Eb
Ben olmadım her yolu denedim
Oysa nedense sen olmadın
Fm
Bugün de ben olmadım
Yanımda kalmasından
Eb
Gidince örnek aldı güneş
Yağmur damlasından
Db
İnan ki sıcak değil
Gözümü kaptırırdım
Eb
Yüzünse sigara değil
Bir ömür yaktırırdı
Fm
Ben yağmurları durdururum
Eb
Kopamıyorum nedense senden
Db
Gel güneşini al yanında
Eb
Sol yanımda sen bir tarafım engel
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Mert Kıyak - Gel Tabs
NotesX
Harmony analysis
Mert Kıyak – Gel: key and chord analysis
The song opens on Fm and ends on Eb. 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 opens on Fm and Fm is heard 6 times while Ab never appears. 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| 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 | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| 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 | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| 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 | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 12× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 24 times in total; 3 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 Eb AbIV → VIV → V FmVI → VIIVI → VII ×6
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×5
The move to watch is Db → Eb, heard 6 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 Eb, land on Eb, G, Bb — 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.
- Over Db, land on Db, F, Ab — 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
- 1 semitone up
The song's harmonic story
The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Eb, Fm, Db; read them as V–vi–IV in Ab or VII–i–VI in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. Ending on Eb, 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.
Mert Kıyak - Gel 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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Lyrics: Mert KıyakMusic: Mert KıyakArrangement: Abdurrahman Şimşek
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