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)
Elif Buse Doğan - Kaçsam Gitsem - Chord
Key Ab major – F minor Chords Ebm7, Fm7, Gbmaj7, Bbm7 Easy key G (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Ab | Fm
Capo: 0
Ebm7 Fm7 Ebm7 Fm7 Ebm7 Fm7 Ağlıyormuş çok üzüldüm Ebm7 Fm7 Seni kırmak istemezdim Ebm7 Fm7 Üzerinde çok düşündüm Ebm7 Fm7 Geriye dönmek istemezsin Ebm7 Fm7 Bilerek unuttun sözlerini sen Ebm7 Fm7 Hangi sözü tuttun bunu tutasın Ebm7 Fm7 Kendimi bıraktım ellerine ben Gbamj7 E tabi sevildikçe sen de şımardın Ebm7 Fm7 Gbmaj7 Bbm7 Bulsan keşke bi yolunu şimdilik Ebm7 Fm7 Kaçsam gitsem bu şehirden Ebm7 Fm7 Bir gün ansızca Ebm7 Fm7 Haberin olmaz bi suçum yok Ebm7 Fm7 Sevdim yalnızca x2 Ebm7 Fm7 Ebm7 Fm7 x2
End of song Play again?
Elif Buse Doğan - Kaçsam Gitsem Tabs
NotesX
Harmony analysis
Elif Buse Doğan – Kaçsam Gitsem: key and chord analysis
The song opens on Ebm7 and ends on Fm7. 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 comes to rest on Fm and Fm is heard 16 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 | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 1× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| v7 | Ebm7 | Chromatic colour chordoutside the key | Eb · Gb · Bb · Db | 16× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 16× |
| bVIImaj7 | Gbmaj7 | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Gb · Bb · Db · F | 1× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 16× |
| bIImaj7 | Gbmaj7 | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Gb · Bb · Db · F | 1× |
| 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 | 1× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| vii7 | Ebm7 | Chromatic colour chordoutside the key | Eb · Gb · Bb · Db | 16× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 34 times in total; 2 of them sit naturally inside the shared scale. Gbmaj7 is borrowed from the parallel minor, adding a darker shade to the major side.
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 Ebm7, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Gbmaj7, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
- On Gbmaj7, follow the chord's notes (Gb · Bb · Db · F) 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
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Ebm7, the song gives away its key from the very first bar. The chords that keep coming back are Ebm7, Fm7, Gbmaj7, Bbm7; read them as v7–vi7–bVIImaj7–ii7 in Ab or vii7–i7–bIImaj7–iv7 in Fm. Gbmaj7 briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Ending on Fm7, the song seals Fm 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.
Elif Buse Doğan - Kaçsam Gitsem 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Hüseyin MehmedoğluMusic: Hüseyin MehmedoğluArrangement: Kerem Akdağ
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.