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 - Gerçekten Zor - Chord
Key Ab major – F minor Chords Cm7, Bbm7, Db, Fm, Dbmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Dbmaj7 Cm7
Yutkundum seni düşündüm
Db
Özledim gizledim inan üzgündüm
Bbm7 Cm7
Kırıcıydık savurmuştun kayboluverdin
Db Bbm7 Cm7
Ayrılık kırıntısından sitemlerim
Fm
Gerçekten zor zor
Cm7
Aşkın tövbesi zor oluyor
Bbm7
Severken gitmesi zor oluyor
Cm7
Gülerken ağlamak geride kalanlardan yadigar
Fm Cm7
Ağlama yüreğim sus ağlama duymasın
Bbm7
Sensiz günlere merhaba derken hep anlasın
Cm7 Db
Yalnızlık ölmekten zor
Fm
Zor zor
Cm7
Aşkın tövbesi zor oluyor
Bbm7
Severken gitmesi zor oluyor
Cm7
Gülerken ağlamak geride kalanlardan yadigar
Fm Cm7
Ağlama yüreğim sus ağlama duymasın
Bbm7
Sensiz günlere merhaba derken hep anlasın
Cm7 Db
Yalnızlık ölmekten zor
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Mustafa Ceceli - Gerçekten Zor Tabs
NotesX
Harmony analysis
Mustafa Ceceli – Gerçekten Zor: key and chord analysis
The song opens on Dbmaj7 and ends on Db. 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 Fm is heard 4 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 | 6× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 11× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 4× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 1× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| 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 | 6× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 11× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 4× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 1× |
| 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). 5 different chords appear 26 times in total; 5 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 ×3
- Db Fm AbIV → vi FmVI → iVI → i ×1
The move to watch is Cm7 → Fm, heard 3 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, F — 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 Dbmaj7; the ear learns where home is within a second. The chords that keep coming back are Cm7, Bbm7, Db, Fm; read them as iii7–ii7–IV–vi in Ab or v7–iv7–VI–i in 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. Ending on Db, 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 - Gerçekten Zor 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: Ferman Eren Nerkis
Onur BayraktarMusic: Doğu Kılıç
Onur BayraktarArrangement: Mustafa Ceceli
Onur BayraktarMusic: Doğu Kılıç
Onur BayraktarArrangement: Mustafa Ceceli
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