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)
Mustafa Ceceli - İmtiyaz (JINE) - Chord
Key Ab major – F minor Chords Fm7, Cm7, Db, Abmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm7 Cm7 Db Abmaj7
Fm7 Cm7
Yüzünü görmüyordum günlerdir
Db
Tek iyi gelen gülmendi
Öyle özlemişim ki
Abmaj7 Fm7
Birden elini tutunca ürperdim
Fm7 Cm7
Diyodumya gitmem hiç
Db
İçimi yakan ilk sendin
Hayat sağ olsun bana
Abmaj7 Fm7
Sensiz acının her halini gösterdi
Fm7 Cm7
Ne olur bak biraz bana
Db
Geçti bak bi yaz daha
Abmaj7
İmtiyaz tanı lütfen
Fm7
Yanımda kal biraz daha
Fm7 Cm7
Bak biraz bana
Db
Geçti bak bi yaz daha
Abmaj7
İmtiyaz tanı lütfen
Fm7
Yanımda kal biraz daha
Fm7
Beni görmeni, inan isterdim
Cm7
Enkaz bıraktın ardında
Db
Yine bitmiyo inan hiç derdim
Abmaj7
Boşver be gönlüm aldırma
End of song Play again?
Mustafa Ceceli - İmtiyaz (JINE) Tabs
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Harmony analysis
Mustafa Ceceli – İmtiyaz (JINE): key and chord analysis
The song opens on Fm7 and ends on Abmaj7. 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor because it comes to rest on Ab, it opens on Fm and Fm is heard 10 times against 6 for Ab. Try reading the chords both ways and see which feels more like home to you.
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 |
|---|---|---|---|---|
| Imaj7 | Abmaj7 | Tonic — home | Ab · C · Eb · G | 6× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| 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 | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| IIImaj7 | Abmaj7 | Relative major — the bright side | Ab · C · Eb · G | 6× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| 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 | 6× |
| 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). 4 different chords appear 28 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
- Db Abmaj7 AbIV → Imaj7plagal cadence FmVI → IIImaj7 ×6
The move to watch is Db → Abmaj7, heard 6 times. From the Ab side it reads IV → Imaj7 (plagal cadence: the soft 'amen' ending); from the Fm side it is VI → IIImaj7. 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 first chord is Fm7; the ear learns where home is within a second. The chords that keep coming back are Fm7, Cm7, Db, Abmaj7; read them as vi7–iii7–IV–Imaj7 in Ab or i7–v7–VI–IIImaj7 in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Abmaj7 (IV → Imaj7 in Ab, VI → IIImaj7 in Fm): plagal cadence — the soft 'amen' ending. Ending on Abmaj7, 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.
Mustafa Ceceli - İmtiyaz (JINE) 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: Bilal SonsesMusic: Bilal SonsesArrangement: Mustafa Ceceli
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