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)
Ali Beykant - Turuncu - Chord
Key Ab major – F minor Chords Db, Eb, Fm Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Eb Db Eb
Fm Eb
Her gecenin bir derdi
Db Eb Fm
Benimde sendin yaa
Eb
Ne halim varsa gördüm
Db Eb Fm
Ve gömdüm kendimi topraklarına
Fm Db Eb Db
Aah geceme çöker öyle bi güzel dersin var ya Allah
Fm Db Eb Db
Yer göğe kavuşsun o bi konuşsun tutulursun valla
Fm Eb Db
Çekmem elimi o güzel yüzünden
Eb Fm
Kaç yaş aktı bilmem gözünden
Db Eb
Sen turuncu severdin ben boyadım
Fm Db Eb
Gel diyemeeeem öyle bi güzel
Db
Düştüm topraklarına
Fm Db Eb Db
Aah geceme çöker öyle bi güzel dersin var ya Allah
Fm Db Eb Db
Yer göğe kavuşsun o bi konuşsun tutulursun valla
Fm Db Eb Db Fm
Aaaaaahh öyle bi güzel öyle bi güzel
Db Eb Db Fm
Dersin ya Allah
End of song Play again?
Ali Beykant - Turuncu Tabs
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Harmony analysis
Ali Beykant – Turuncu: 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)
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 and Fm is heard 14 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 | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 19× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 16× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 14× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 14× |
| 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 | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 19× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 16× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 49 times in total; 3 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 Eb AbIV → VIV → V FmVI → VIIVI → VII ×12
- Db Fm AbIV → vi FmVI → iVI → i ×7
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×5
The move to watch is Db → Eb, heard 12 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). 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 Db, land on Db, F, Ab — 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 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
- 1 semitone down · capo 1 keeps the original pitch
- 1 semitone up
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. Db, Eb, Fm carry the song: IV–V–vi relative to Ab, VI–VII–i relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. It closes on Fm, letting the Fm side have the last word.
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.
Ali Beykant - Turuncu 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: Ali BeykantMusic: Ali BeykantArrangement: Alaz Dedeoğlu & Ozan Yücelsoy
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