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)
Suzan Hacıgarip - 1 - Chord
Key Ab major – F minor Chords Bbm7, Fm, Cm Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm Bbm7 Bbm7
Fm Cm Bbm7
Sonunda yine karşılaştık
Fm Cm Bbm7
Yol geçmez iz geçmez bir yerde
Fm Cm Bbm7
Sonunda yine bitirdik
Fm Cm Bbm7
Hiç başlamaz dediğim o yerde
Fm Cm Bbm7
Ben ne desem sen duyma ne olur
Fm Cm Bbm7
Nereye gitsem peşimden gel
Fm Cm Bbm7
Ben ne desem sen duyma ne olur
Fm Cm Bbm7
Nereye çekilsem peşimden gel
Fm Cm Bbm7
Tuuuuuuuuuut
Fm Cm Bbm7
Tuuuut elimi
Fm Cm Bbm7
Tuuuuuuuuuut
Fm Cm Bbm7
Tuuuut elimi
Fm Cm Bbm7 Bbm7
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Suzan Hacıgarip - 1 Tabs
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Harmony analysis
Suzan Hacıgarip – 1: key and chord analysis
The song opens on Fm and ends on Bbm7. 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 14 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 | 16× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 14× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 14× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 14× |
| 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 | 16× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 14× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 44 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
- Bbm7 Fm Abii7 → vi Fmiv7 → iminor plagal ×13
The move to watch is Bbm7 → Fm, heard 13 times. From the Fm side it is iv7 → i (minor plagal: deep and melancholic); from the Ab side it reads ii7 → 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 Bbm7, land on Bb, Db, F — 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 Cm, land on C, Eb, G — 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 Fm, the song gives away its key from the very first bar. The backbone is Bbm7, Fm, Cm — ii7–vi–iii from the Ab side, iv7–i–v from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Fm (ii7 → vi in Ab, iv7 → i in Fm): minor plagal — deep and melancholic. It closes on Bbm7, 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.
Suzan Hacıgarip - 1 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: Suzan HacıgaripMusic: Suzan Hacıgarip
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