Atiye - Dalgana Bak - Chord

Key Ab major – F minor Chords Cm, Bbm, Fm, Db, Eb Easy key C

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Capo 0

Fm  Fm  Db  Eb

Fm          Bbm               Db
Bi deli büyüsü bi düş arası gibi
Cm
Aşk varmş
Fm         Bbm              Db
Bi ateşböceği gece yarısı gibi
Cm
Aşk yokmuş

Bbm   Cm     Db    Eb       Db
Güneşiin boyası gözlerime vuran
    Cm     Db    Cm 
Dönüyor dünya çengisi zaman
Bbm  Cm     Db    Eb       Bbm
Bi çiçek koydu göğsümüze hayat
    Cm     Db   Eb
Büyüsün dağlaarrda

Fm          Bbm     Cm
Dalgana bak dinleme alemi
Fm          Bbm    Cm
Kalbi duyan yazıyo tarihi
Fm            Bbm    Cm
Dert mi deniz en derinindeyiz
Fm         Bbm    Cm
Aşka bırak öper o talihini

Fm          Bbm               Db
Bi uzun gecenin güne dönüşü gibi
Cm
Aşk varmış
Fm          Bbm            Db
Sarının yeşile kayboluşu gibi
Cm
Aşk yokmuş

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Atiye - Dalgana Bak Tabs

NotesX

Harmony analysis

Atiye – Dalgana Bak: key and chord analysis

The song opens on Fm and ends on Cm. 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 opens on Fm and Fm is heard 10 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	11×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	13×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	10×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	4×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	10×
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	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	11×
v	Cm	Minor dominant — soft pull	C · Eb · G	13×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	10×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	4×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 48 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

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×6
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×4
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2

The move to watch is Cm → Fm, heard 6 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Bbm, 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.

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 Fm lays a solid floor for everything that follows. The backbone is Cm, Bbm, Fm, Db — iii–ii–vi–IV from the Ab side, v–iv–i–VI from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Cm; the ear comes to rest in Ab.

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.