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)
Sevcan Orhan - Hacel Obası - Chord
Key Ab major – F minor Chords Cm, Fm, Eb, Db Easy key C
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Key: Ab | Fm
Capo: 0
Fm Db Eb Cm Fm Eb Db Cm x2 Cm Hacel obasını engin mi sandın Fm Cm Eb Cm Ayağında potini var zengin mi sandın Fm Db Eb Cm Her olur olmazı canım dengin mi sandın Fm Eb Db Cm Ay da doldu göremedim yar seni Fm Db Eb Cm Fm Eb Db Cm x2 Cm Suya gider bir incecik yolu var Fm Cm Eb Cm Sıktırmış kemeri ince beli var Fm Db Eb Cm Söylerim söylemez tatlı dili var Fm Eb Db Cm Ay da doldu göremedim yar seni Fm Db Eb Cm Fm Eb Db Cm x2 Cm Merdivenden tıkır mıkır inişin Fm Cm Eb Cm Cığıldaşır altın ile gümüşün Fm Db Eb Cm Önce söz verip de sonra dönüşün Fm Eb Db Cm Ay da doldu göremedim yar seni Cm Suya gider su testisin doldurur Fm Cm Eb Cm Kınalı parmağın suya daldırır Fm Db Eb Cm O yarin bakışı beni öldürür Fm Eb Db Cm Ay da doldu göremedim yar seni Derleyen: İhsan Öztürk
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Sevcan Orhan - Hacel Obası Tabs
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Harmony analysis
Sevcan Orhan – Hacel Obası: 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 18 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 | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 26× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 14× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 18× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 18× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 18× |
| 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 | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 26× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 14× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 18× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 76 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×17
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×7
The move to watch is Cm → Fm, heard 17 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 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.
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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The backbone is Cm, Fm, Eb, Db — iii–vi–V–IV from the Ab side, v–i–VII–VI from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.
Sevcan Orhan - Hacel Obası 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: AnonimMusic: Anonim
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