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)
Yiğit Mahzuni - Gelmen Gerek (Özge Şafak) - Chord
Key Ab major – F minor Chords Fm7, Cm7, Db, Eb, Bbm7, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Fm7 Db
Olsun, yinede canın sağolsun
Eb Bbm Cm7
Hayatımı bir yere bırak bir günün etmez
Fm7 Db
Olsun seni unutan taş olsun
Eb Bbm7 Cm7
Bu dünyayı bir yere bırak gülüşün etmez
Db
Kalbine adım adım yanına koşamadım
Eb
Sensiz bir güne inan alışamadım
Bbm7
Gittigim bu yol sana çıkmasa da
Cm7 Fm7
Ölürüm uğrunda, sensiz yaşamadım, off
Fm7 Bbm7 Cm7
Yerle bir oldum yarla bir olamadım
Db Cm7
Hata bende gözlerinle savaştım, galip olamadım
Fm7 Bbm7 Cm7
Gelmen gerek nefesim yüreğim kaldı seninle
Db Eb
Bir sen gerek götür ne varsa geldiğin yere
Fm7
Kal benimle
End of song Play again?
Yiğit Mahzuni - Gelmen Gerek (Özge Şafak) Tabs
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Harmony analysis
Yiğit Mahzuni – Gelmen Gerek (Özge Şafak): key and chord analysis
The song opens on Fm7 and ends on Fm7. 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 both starts and finishes 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 | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 4× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 1× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 6× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 5× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 6× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 4× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 1× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 6× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 5× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 26 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
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×4
- Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×3
- Eb Fm7 AbV → vi7deceptive cadence FmVII → i7Aeolian arrival ×1
The move to watch is Db → Eb, 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 Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Cm7, 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.
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
The opening Fm7 lays a solid floor for everything that follows. The backbone is Fm7, Cm7, Db, Eb — vi7–iii7–IV–V from the Ab side, i7–v7–VI–VII from the Fm side. 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. It closes on Fm7, letting the Fm 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.
Yiğit Mahzuni - Gelmen Gerek (Özge Şafak) 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: Yiğit MahzuniMusic: Yiğit Mahzuni,
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