Aydın Kurtoğlu - Söz - Chord

Key Ab major – F minor Chords Fm, Bbm, Cm, C#, Eb Easy key C

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Capo 0

    Fm
Geliyor haberlerin
   Bbm        Cm
İhanet zaferlerin

O senin günah gözlerin
  Bbm           Fm
Kimin kalbine değdi
  Fm
Dilimin duaları
      Bbm        Cm
Tek senin nöbetçindi

Gönlümün sevda sancısı
  Bbm          Fm
Adın elveda şimdi

Bbm
Bir hazin son
Cm
Bir uzun yol
C#
Hayat bekler
Eb 
Yürü ey kalbim

Fm
O zalim gecede 
Bbm
Bir hain teninde
Cm        Fm
Uyudun mu bensiz

Fm
Oysa biz seninle
Bbm
Ömürlük sevmeye
Cm            Fm
Söz vermiştik kalpsiz

Fm
En zalim gecede 
Bbm
Bir hain teninde
Cm           Fm
Uyudun mu bensiz

Fm  Bbm  Cm  Fm

End of song Play again?

Aydın Kurtoğlu - Söz Tabs

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Harmony analysis

Aydın Kurtoğlu – Söz: 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.

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)

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 12 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	9×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	7×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	C#	Subdominant — moves away from home	C# · E# · G#	1×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	1×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	12×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	12×
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	9×
v	Cm	Minor dominant — soft pull	C · Eb · G	7×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	C#	Submediant — warm colour	C# · E# · G#	1×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	1×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 30 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 ×4
Bbm Fm Abii → vi Fmiv → iminor plagal ×2
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1
C# Eb AbIV → VIV → V FmVI → VIIVI → VII ×1

The move to watch is Cm → Fm, heard 4 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — 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. Fm, Bbm, Cm, C# carry the song: vi–ii–iii–IV relative to Ab, i–iv–v–VI relative to 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. It closes on Fm, letting the Fm 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.