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)
Melike Şahin - Ortak - Chord
Key Ab major – F minor Chords Fm, Eb, Db, Cm, Bbm, Ab Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Fm Bbm Eb Fm
Fm Bbm
N’olur hatırla, eline doğdum
Db Eb Fm
Alım al, gülüm gonca
Bbm
Ne ara rüzgar tersine döndü
Db Eb Fm
Acıtıyor yüze vurunca
Ab Db
Kayboldun kalbimden
Eb Fm
Deli gibi özlüyorum
Ab Db
Mazur gör merak bu
Eb Fm
Sadece soruyorum
Fm Cm
Öyle kolay mı el gibi kaçmak?
Db Eb Cm
Mazeretin ne, olsa da duysak?
Fm Cm
Söyle değer mi, değdi mi ortak?
Db Eb Cm
Dağ gibi kalbi ortadan oymak?
Fm Bbm
Dur yere bana bileniyorsun
Db Eb Fm
Benim içim temiz oysa
Bbm
Yine de sana gönül koyamam
Db Eb Fm
Eririm hep sarılınca
Ab Db
Kayboldun kalbimden
Eb Fm
Deli gibi özlüyorum
Ab Db
Mazur gör merak bu
Eb Fm
Sadece soruyorum
Fm Cm
Öyle kolay mı el gibi kaçmak?
Db Eb Cm
Mazeretin ne, olsa da duysak?
Fm Cm
Söyle değer mi, değdi mi ortak?
Db Eb Cm
Dağ gibi kalbi ortadan oymak?
End of song Play again?
Melike Şahin - Ortak Tabs
NotesX
Harmony analysis
Melike Şahin – Ortak: 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.
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 17 times against 4 for Ab. 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 | 4× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 5× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 8× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 12× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 13× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 17× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 17× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 4× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 5× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 8× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 12× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 13× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 59 times in total; 6 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×9
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×3
- Bbm Eb Abii → Vii → V Fmiv → VII ×1
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 Fm, land on F, Ab, C — 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 Db, 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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. Fm, Eb, Db, Cm carry the song: vi–V–IV–iii relative to Ab, i–VII–VI–v 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 Cm, letting the Ab 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.
Melike Şahin - Ortak 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: Melike ŞahinMusic: Melike ŞahinArrangement: Melike Şahin, Zafer Tunç Resuloğlu
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