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)
Selda Bağcan - Tatlı Dillim - Chord
Key Ab major – F minor Chords Ab, Db, Eb, Gb Easy key A
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Key: Ab | Fm
Capo: 0
Ab Eb Db Ab Gb Ab Db Ab Db Ab Db Ab
Ab Db Ab
Şu garip halimden bilen şiveli nazlım
Db Ab
Gönlüm hep seni arıyor neredesin sen
Ab Eb Db Ab
Tatlı dillim güler yüzlüm ey ceylan gözlüm
Gb Ab Db Ab
Gönlüm hep seni arıyor neredesin sen
Db Ab
Neredesin sen
Ab Db Ab
Ben ağlarsam ağlayıp gülersem gülen
Db Ab
Bütün dertlerimi anlayıp gönlümü bilen
Ab Eb Db Ab
Sanki kalbimi bilerek yüzüme gülen
Gb Ab Db Ab
Gönlüm hep seni arıyor neredesin sen
Db Ab
Neredesin sen
Ab Db Ab
Sinemde gizli yaramı kimse bilmiyor
Db Ab
Hiçbir tabib şu yarama merhem olmuyor
Ab Eb Db Ab
Boynu bükük bir garibim yüzüm gülmüyor
Gb Ab Db Ab
Gönlüm hep seni arıyor neredesin sen
Db Ab
Neredesin sen
End of song Play again?
Selda Bağcan - Tatlı Dillim Tabs
NotesX
Harmony analysis
Selda Bağcan – Tatlı Dillim: key and chord analysis
The song opens on Ab and ends on Ab. 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 Ab major side because it both starts and finishes on Ab and Ab is heard 30 times while Fm never appears. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 | 30× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 19× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| bVII | Gb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Gb · Bb · Db | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| bII | Gb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Gb · Bb · Db | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 30× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| 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 | 19× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 57 times in total; 3 of them sit naturally inside the shared scale. Gb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Db Ab AbIV → Iplagal cadence FmVI → III ×19
- Gb Ab AbbVII → IbVII → I FmbII → III ×4
The move to watch is Db → Ab, heard 19 times. From the Ab side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Fm side it is VI → III. 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 Ab, land on Ab, C, Eb — 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.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- On Gb, follow the chord's notes (Gb · Bb · Db) 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 up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
The opening Ab lays a solid floor for everything that follows. Ab, Db, Eb, Gb carry the song: I–IV–V–bVII relative to Ab, III–VI–VII–bII relative to Fm. Gb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Db → Ab (IV → I in Ab, VI → III in Fm): plagal cadence — the soft 'amen' ending. It closes on Ab, 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.
Selda Bağcan - Tatlı Dillim 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: Neşet ErtaşMusic: Neşet Ertaş
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