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)
Mustafa Ceceli - Aşk İçin Gelmişiz - Chord
Key Ab major – F minor Chords Cm, C#, D#, Fm, A#m, D#m Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm D# C# Cm
Aşk için gelmişiz biz bu cihana
D# C# Cm
Dostu sevmektir bizim işimiz
Fm Cm C# Cm
Allâh der her bir zerremiz
D# C# Cm A#m
Ağyar görenden bize ne
Fm D# A#m Cm
Ağyar görenden bize ne
Cm C# D#
Yer gök seslenir her dem Allah
C#
Benlikten geçenin yâridir Allah
Fm D# C# Cm
Aşkı bulan neyler ki bu dünyayı
D#m A#m C# Cm
Her dem seslenir o, Allah Allah
End of song Play again?
Mustafa Ceceli - Aşk İçin Gelmişiz Tabs
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Harmony analysis
Mustafa Ceceli – Aşk İçin Gelmişiz: 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 4 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 | A#m | Supertonic — prepares the dominant | A# · C# · E# | 3× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 9× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 8× |
| V | D# | Dominant — strongest pull home | D# · G · A# | 6× |
| v | D#m | Chromatic colour chordoutside the key | D# · F# · A# | 1× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | A#m | Subdominant — moves away from home | A# · C# · E# | 3× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 9× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 8× |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 6× |
| vii | D#m | Chromatic colour chordoutside the key | D# · F# · A# | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 31 times in total; 5 of them sit naturally inside the shared scale. D#m step outside the scale as colour chords.
Chord movement
- A#m Fm Abii → vi Fmiv → iminor plagal ×1
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
- C# D# AbIV → VIV → V FmVI → VIIVI → VII ×1
- C# Fm AbIV → vi FmVI → iVI → i ×1
The move to watch is A#m → Fm, heard once. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → 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 C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
- Over D#, land on D#, G, A# — 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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are Cm, C#, D#, Fm; read them as iii–IV–V–vi in Ab or v–VI–VII–i in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A#m → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. The final chord is Cm; the ear comes to rest in Ab.
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.
Mustafa Ceceli - Aşk İçin Gelmişiz 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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