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)
Derya Uluğ - Sana Çıkıyor Yollar - Chord
Key Ab major – F minor Chords Fm, Eb, Db, C7, Bbm Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm
Hep başa geri dönüyorsan
Nafile beni soruyorsan
Eb Db Fm
Sorma kendini boşa yorma
Fm
Bak sana kapalı bu yollar
Sanma hep iyi bir son var
Eb Db Fm Eb
Sanma boş yere buna kanma
Db Eb
Zaman ödemez kefaretini
Db
Sanma siler gidişini
Eb
Hiç bir iyi söz dilinde dönen
C7
Unutturamaz ihanetini
Fm Eb Fm
Öyle bir kader ki bu
Eb Fm
Öyle bir ceza bana
Eb Bbm
Bin kere vursan da ölmem ölmem
Fm
Son bir sözü varsa
Eb
Hayatın kullarına
Db
Asla deme asla
Fm
Dönmem dönmem
Fm
Hep sana çıkıyor bu yollar
İnan kader diye bir şey var
End of song Play again?
Derya Uluğ - Sana Çıkıyor Yollar Tabs
NotesX
Harmony analysis
Derya Uluğ – Sana Çıkıyor Yollar: key and chord analysis
The song opens on Fm and ends on Fm. 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)
- #7 = E (harmonic-minor leading tone from the V chord)
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, Fm is heard 10 times while Ab never appears and the major V chord points straight at Fm. 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 | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 1× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 1× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 5× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 9× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 1× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 1× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 5× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 9× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 26 times in total; 4 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.
Chord movement
- Db Fm AbIV → vi FmVI → iVI → i ×3
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×1
- Bbm Fm Abii → vi Fmiv → iminor plagal ×1
The move to watch is Db → Fm, heard 3 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 Eb, land on Eb, G, Bb — 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.
- When C7 comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.
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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The backbone is Fm, Eb, Db, C7 — vi–V–IV–V7/vi from the Ab side, i–VII–VI–V7 from the Fm side. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. 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.
Derya Uluğ - Sana Çıkıyor Yollar 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: Ender Gündüzlü - Ümit SerginArrangement: Metin Arıgül
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