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)
Oğuzhan Koç - Engeli Kaldır - Chord
Key Ab major – F minor Chords Fm7, Bbm7, Cm7, Dbmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Dbmaj7 Cm7 Dbmaj7 Fm7
Bbm7 Fm7
Niye seni arıyorsam
Bbm7
Niyetini ben bile biliyorsam
Fm7
Biletimi kesiyorsan
Bbm7
Diyetini tek ben ödüyorsam aşkın
Cm7 Fm7 Bbm7
Gidebilirim buralardan
Cm7 Fm7
Silerim anılarımızı kafa yorma
Bbm7 Fm7
Gelebilir miyiz bir araya
Bbm7
Gülebiliriz yine doya doya
Cm7 Fm7
Dönebilirsin seviyorsan
Bbm7
Görebilirim seni ah o zaman aşkım
Cm7 Fm7
Öpebilirim dudağından
Bbm7 Cm7 Fm7
Dökebilirim içimi bi’ sorarsan
Bbm7 Cm7 Fm7
Çıkamadı çıkmazlardan
Bbm7
Peşimi bırakmazlardan
Cm7 Fm7
Şu sesimi duymazlardan yoruldum
Bbm7 Cm7 Fm7
Yapamadık her şeyi dengeli
Bbm7
Engeli kaldır o engeli
Cm7 Fm7
Bulamadım hangimiz daha deli yoruldum
End of song Play again?
Oğuzhan Koç - Engeli Kaldır Tabs
NotesX
Harmony analysis
Oğuzhan Koç – Engeli Kaldır: key and chord analysis
The song opens on Dbmaj7 and ends on Fm7. 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 it comes to rest on Fm and Fm is heard 13 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 | 12× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 10× |
| 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 | 2× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 13× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 13× |
| 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 | 12× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 10× |
| 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 | 2× |
| 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 37 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
- Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×9
- Bbm7 Fm7 Abii7 → vi7 Fmiv7 → i7minor plagal ×3
- Dbmaj7 Fm7 AbIVmaj7 → vi7 FmVImaj7 → i7VI → i ×1
The move to watch is Cm7 → Fm7, heard 9 times. From the Fm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → vi7. 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 Bbm7, land on Bb, Db, F — 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 first chord is Dbmaj7; the ear learns where home is within a second. Fm7, Bbm7, Cm7, Dbmaj7 carry the song: vi7–ii7–iii7–IVmaj7 relative to Ab, i7–iv7–v7–VImaj7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm7 (iii7 → vi7 in Ab, v7 → i7 in Fm): natural-minor cadence — gentle, modal arrival. Ending on Fm7, the song seals Fm 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.
Oğuzhan Koç - Engeli Kaldır 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: Oğuzhan Koç - Çağrı TelkıvıranMusic: Oğuzhan Koç - Çağrı TelkıvıranArrangement: Çağrı Telkıvıran
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