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)
Gökhan Tepe - Çok Özlüyorum Seni - Chord
Key Ab major – F minor Chords Cm, A#m, C#, Fm, G#, A#, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm
Sevgilim bizi böyle ayrı koyan
A#m A#
Kadere boyun eğdik bile bile
Fm Cm
Yenildik kırıcıydık üstelik
A#m Cm Eb
Sevgimize alışkanlık diye diye
C#
Arıyorum geçip giden zamanda
Cm
Kayboluverdin bir anda
A#m G#
Şimdi ne olduk seninle biz
C#
Biliyorum döneceksin bir anda
Cm
Dün gece gördüm rüyamda
A#m Cm
İnan çok özlüyorum seni
C# Cm
Ben zaten senden gelen her kederi her çileyi
A#m G#
Kabullendim sen gittiğin günden beri
C# Cm Fm
Bazen duyarsan sitemli sözlerimi
A#m Cm
Bağışla çünkü çok özlüyorum seni
C#
Yanıyorum külde yok dumanda
Cm
Bir sızı var ta şuramda
A#m Cm
İnan çok özlüyorum seni
End of song Play again?
Gökhan Tepe - Çok Özlüyorum Seni Tabs
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Harmony analysis
Gökhan Tepe – Çok Özlüyorum Seni: 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 3 times against 2 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 | G# | Tonic — home | G# · B# · D# | 2× |
| ii | A#m | Supertonic — prepares the dominant | A# · C# · E# | 7× |
| V/V | A# | Secondary dominant V/V — leads to Ebsecondary dominant | A# · D · E# | 1× |
| 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 | C# | Subdominant — moves away from home | C# · E# · G# | 5× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 1× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 3× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 3× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | G# | Relative major — the bright side | G# · B# · D# | 2× |
| iv | A#m | Subdominant — moves away from home | A# · C# · E# | 7× |
| IV | A# | Major IV — Dorian / melodic-minor colourmodal colour | A# · D · E# | 1× |
| 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 | C# | Submediant — warm colour | C# · E# · G# | 5× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 30 times in total; 6 of them sit naturally inside the shared scale. A# acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
The move to watch is Cm → Fm, heard once. 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 A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, 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
Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are Cm, A#m, C#, Fm; read them as iii–ii–IV–vi in Ab or v–iv–VI–i in Fm. A# adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. Ending on Cm, 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.
Gökhan Tepe - Çok Özlüyorum Seni 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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