Siyam - Nasıl Gittin - Chord

Key Ab major – F minor Chords Cm7, Dbmaj7 Easy key C

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Capo 0

Cm7  Dbmaj7

Cm7
Nasıl gittin, bu mu sevgin
                    Dbmaj7
Seni kalbim sildi tamamen

Nasıl oldum, sana teslim
                  Cm7
Değmezdi o zalime zaten

Sabah olmaz, gecelerce
                   Dbmaj7
Seni özler ağlarım bazen

Ne hayaller kuracakken
                   Cm7
Arar oldum derdime çarem

Cm7
Beni sevmene vardı inancım
                   Dbmaj7
Ama olmadı bende yanıldım

Ne kadar zor sensiz uyanmak
                     Cm7
Bana verdiği sözlere kandım

Cm7
Özler deliye döner

Bu yangın bilmem ki nasıl söner
      Dbmaj7
Olmaz bi seni arar bu gönül

Gölgen hep benim yoluma düşer

End of song Play again?

Siyam - Nasıl Gittin Tabs

NotesX

Harmony analysis

Siyam – Nasıl Gittin: key and chord analysis

The song opens on Cm7 and ends on Dbmaj7. 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.

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	—
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	7×
III	C	Chromatic colour chordoutside the key	C · E · G	—
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	5×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	—
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	—
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	—
v7	Cm7	Minor dominant — soft pull	C · Eb · G · Bb	7×
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	5×
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). 2 different chords appear 12 times in total; 2 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Dbmaj7, 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 opening Cm7 lays a solid floor for everything that follows. The chords that keep coming back are Cm7, Dbmaj7; read them as iii7–IVmaj7 in Ab or v7–VImaj7 in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Dbmaj7, 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.