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)
Soner Sarıkabadayı - Neresi - Chord
Key Ab major – F minor Chords Cm, Db, Bbm, Fm, Eb, Dbm Easy key C
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Key: Ab | Fm
Capo: 0
Cm
Adını ansam bir başka türlü
Fm Bbm
Anmasam girer aklıma her türlü
Db
Gelir gider kafasına göre
Bbm
Türlü türlü
Cm Bbm
Bence boş verelim gel o yangını biz
Cm Fm Bbm
Bak hazır ikimiz de yanmamışken
Db Bbm Db Eb Fm Db Cm
Kimse kimseyi hiç kimse sanmamışken
Cm
İstemeden unutabiliyorum da
Geçti mi hevesi gerisi önemli değil
Db
Yönüm kötüdür kaybolurum da
Cm Eb Db
Gönlünün neresi neresi belli değil
Cm Bbm
Boş verelim gel o yangını biz
Cm Fm Bbm
Bak hazır ikimiz de yanmamışken
Dbm Bbm Db Eb Fm Db Cm
Kimse kimseyi hiç kimse sanmamışken
Cm
İstemeden unutabiliyorum da
Geçti mi hevesi gerisi önemli değil
Db
Yönüm kötüdür kaybolurum da
Cm Eb Db
Gönlünün neresi neresi belli değil
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Soner Sarıkabadayı - Neresi Tabs
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Harmony analysis
Soner Sarıkabadayı – Neresi: key and chord analysis
The song opens on Cm and ends on Db. 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 Fm is heard 5 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 | 8× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 11× |
| 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× |
| iv | Dbm | Minor iv — borrowed from the parallel minorborrowed chord | Db · Fb · Ab | 1× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 5× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 5× |
| 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 | 8× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 11× |
| 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× |
| vi | Dbm | Chromatic colour chordoutside the key | Db · Fb · Ab | 1× |
| 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). 6 different chords appear 39 times in total; 5 of them sit naturally inside the shared scale. Dbm is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×3
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
The move to watch is Cm → Fm, heard 3 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 Db, land on Db, F, Ab — 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.
- On Dbm, follow the chord's notes (Db · Fb · Ab) rather than the key's scale — it's a borrowed colour.
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 Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Db, Bbm, Fm; read them as iii–IV–ii–vi in Ab or v–VI–iv–i in Fm. Dbm briefly darkens the picture: minor iv — borrowed from the parallel minor. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Db, 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.
Soner Sarıkabadayı - Neresi 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: Soner SarıkabadayıMusic: Soner Sarıkabadayı
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