Simge - Mutlu Bir Son - Chord

Key Ab major – F minor Chords Cm7, Dbmaj7, Bbm7, Fm7 Easy key C

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Capo 0

Dbmaj7  Cm7

Dbmaj7
 Hasreti ben seçtim, kader diyemem
Cm7
 Yaraları ben deştim, iyileşmeyi bekleyemem
Bbm7
 Ele güne korkum yok, varsa yoksa kendimden
Cm7
 Ölüyordum aşkından, haberin yok bir şeyden

Dbmaj7
 Bugün bir karar aldım, e tabii zaman aldı ve zorladı
Cm7
 Seni bir daha görmek yok, sevişmeler hep rafa kalktı
Bbm7
 Derin bir nefes aldım, ne kadar ağladım sayamadım
Cm7
 Bu kalpte son duraktın, bir daha sevmek hayal artık

Dbmaj7
Gözlerimde bir damla
                          Cm7
Kalbimde aşkından kırıntı yok 
          Fm7
Elbet bulunur çıkar bir yol
Dbmaj7
Ellerimden ansızca
                                 Cm7
Kime uçup gittiysen onunla mutlu ol
        Fm7                Dbmaj7
Son dileğim sana mutlu bir son

End of song Play again?

Simge - Mutlu Bir Son Tabs

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Harmony analysis

Simge – Mutlu Bir Son: key and chord analysis

The song opens on Dbmaj7 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: to us the song feels closer to the F minor side because Fm is heard 2 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii7	Bbm7	Supertonic — prepares the dominant	Bb · Db · F · Ab	2×
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	7×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	6×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi7	Fm7	Relative minor — the melancholy side	F · Ab · C · Eb	2×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i7	Fm7	Tonic — home	F · Ab · C · Eb	2×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv7	Bbm7	Subdominant — moves away from home	Bb · Db · F · Ab	2×
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	6×
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). 4 different chords appear 17 times in total; 4 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

Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×2

The move to watch is Cm7 → Fm7, heard 2 times. From the Fm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → vi7. 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 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.
Over Bbm7, land on Bb, Db, F — 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 Dbmaj7, the song gives away its key from the very first bar. Cm7, Dbmaj7, Bbm7, Fm7 carry the song: iii7–IVmaj7–ii7–vi7 relative to Ab, v7–VImaj7–iv7–i7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm7 (iii7 → vi7 in Ab, v7 → i7 in Fm): natural-minor cadence — gentle, modal arrival. 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.