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 Adına - Chord
Key Ab major – F minor Chords D#, Fm, Cm, A#m, C# Easy key C
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Key: Ab | Fm
Capo: 0
Fm D# C#
Dün gibi hatırlarım zorlanmam
Fm D# C#
Hiçbir zaman çıkmadın ki dünyamdan
D# C#
Gülüyordum bugün biraz iyiydim sanki
D# Cm Fm
Yaşananlar yine birden aklıma geldi
D# C#
Gülüyordum bugün biraz iyiydim sanki
D# Cm Fm
Yaşananlar yine birden aklıma geldi
Fm A#m
Senin hiç duymadığın hiç bilmediğin bir şey var
D# Cm A#m Cm
Evet bazı sözleri söylemez insan hep saklar
Fm A#m
Ama şimdi duy beni tek sana deli biri var
D# Cm A#m Cm
Bak hep yüzleri gülen melekler bile durgunlar
Fm D# C#
Her gece hayalin hep karşımda
Fm D# C#
Uyandığım anda biten bir rüya
A#m Cm
Nasıl olsa bir şekilde seni görücem bir gün
A#m Cm
Ya da bitiyor nefesim sonda yine ölücem her gün
Fm A#m
Ya bir tek gün bile karşımda bir daha durma
D# Cm A#m Cm
Ya da tekrar gelip söz ver bana sen burda
Fm
Bu aşk adına
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Mustafa Ceceli - Aşk Adına Tabs
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Harmony analysis
Mustafa Ceceli – Aşk Adına: key and chord analysis
The song opens on Fm and ends on Fm. 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 both starts and finishes on Fm and Fm is heard 10 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# | 8× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 10× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 6× |
| V | D# | Dominant — strongest pull home | D# · G · A# | 11× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| 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# | 8× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 10× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 6× |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 11× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 45 times in total; 5 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 ×6
- C# D# AbIV → VIV → V FmVI → VIIVI → VII ×3
- A#m D# Abii → Vii → V Fmiv → VII ×3
- C# Fm AbIV → vi FmVI → iVI → i ×2
The move to watch is Cm → Fm, heard 6 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 D#, land on D#, G, A# — 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 Cm, land on C, Eb, G — 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
The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are D#, Fm, Cm, A#m; read them as V–vi–iii–ii in Ab or VII–i–v–iv in Fm. 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 Fm, 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.
Mustafa Ceceli - Aşk Adına 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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