İbrahim Başaran - Gözlerden Irak (Oğuzhan Koç) - Chord

Key Ab major – F minor Chords Fm, Dbmaj7, Cm7, Bbm, Eb, Cm, Abmaj7 Easy key C

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Capo 0

Bbm  Eb  Dbmaj7  Cm7  Fm

Bbm                Eb
Bir gün bir anda görürsen karşında
Fm   Cm          Fm
Sus, sarıl nolur konuşma
Bbm               Eb
Sormam nedendir o derman sendedir
Fm    Cm           Fm
Ah, bırak karışsın kanıma

Dbmaj7                 Eb                      Dbmaj7
Hasretim kokuna, bulamadım yoksa saçların mı kaçak?
        Bbm     Cm7         Fm
Gülüşün aylardır gözlerden ırak

Fm        Bbm        Eb            Bbm
Düştüysem kalkamam bana bir el ver yar
          Abmaj7                 Eb
Direnirim ay benimleyse, üşürüm ama güneşsiz de
         Dbmaj7  Cm7        Fm
Arada bi uğra    sorma kime ne
        Dbmaj7  Cm7           Fm
Uçarız aldırma  sonsuz gökyüzüne

Dbmaj7  Cm7  Fm  Dbmaj7  Cm7  Fm
Dbmaj7  Cm7  Fm  Dbmaj7  Cm7  Fm

Bbm                Eb            Dbmaj7   Cm7        Fm
Gül bu dikensiz, hayatım çilesiz hiç   olamaz düştüm dardayım

End of song Play again?

İbrahim Başaran - Gözlerden Irak (Oğuzhan Koç) Tabs

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Harmony analysis

İbrahim Başaran – Gözlerden Irak (Oğuzhan Koç): key and chord analysis

The song opens on Bbm and ends on Fm. 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 it comes to rest on Fm and Fm is heard 14 times against 1 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
Imaj7	Abmaj7	Tonic — home	Ab · C · Eb · G	1×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	7×
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	9×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	2×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	10×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	7×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	14×
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	14×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
IIImaj7	Abmaj7	Relative major — the bright side	Ab · C · Eb · G	1×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	7×
v7	Cm7	Minor dominant — soft pull	C · Eb · G · Bb	9×
v	Cm	Minor dominant — soft pull	C · Eb · G	2×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VImaj7	Dbmaj7	Submediant — warm colour	Db · F · Ab · C	10×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	7×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 50 times in total; 7 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

Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×9
Bbm Eb Abii → Vii → V Fmiv → VII ×5
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×1

The move to watch is Cm7 → Fm, heard 9 times. From the Fm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Dbmaj7, land on Db, F, Ab — 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.

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 Bbm lays a solid floor for everything that follows. Fm, Dbmaj7, Cm7, Bbm carry the song: vi–IVmaj7–iii7–ii relative to Ab, i–VImaj7–v7–iv relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm (iii7 → vi in Ab, v7 → i in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Fm; the ear comes to rest in Fm.

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.

İbrahim Başaran - Gözlerden Irak (Oğuzhan Koç) 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: İbrahim Başaran

Music: İbrahim Başaran

Arrangement: Çağrı Telkıvıran

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