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)
Göksel - Günün Birinde - Chord
Key Ab major – F minor Chords Cm, Bbm7, G#, Cm7, Fm, D# Easy key C
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Key: Ab | Fm
Capo: 0
Cm Bbm7 Cm Bu devran hep böyle sürüp gitmez ki Fm Cm7 Sen de solacaksın günün birinde G# Cm7 Aklına gelecek, ayrılığımız G# Cm Bbm7 Cm Pişman olacaksın günün birinde G# Cm Senin de saçına karlar yağacak D# Bbm7 Senin de gözüne yaşlar dolacak Fm Cm7 Elbette kalbini biri yakacak G# Cm Bbm7 Cm Beni anacaksın günün birinde Cm Bbm7 Cm Ne geri dönecek yolun olacak Fm Cm7 Ne de tutunacak dalın kalacak G# Cm7 Korkarım pişmanlık, sonun olacak G# Cm Bbm7 Cm Yalnız kalacaksın günün birinde
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Göksel - Günün Birinde Tabs
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Harmony analysis
Göksel – Günün Birinde: key and chord analysis
The song opens on Cm 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 Ab major side because Ab is heard 6 times against 3 for Fm. 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 | G# | Tonic — home | G# · B# · D# | 6× |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 11× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 5× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| V | D# | Dominant — strongest pull home | D# · G · A# | 1× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 3× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 3× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | G# | Relative major — the bright side | G# · B# · D# | 6× |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 11× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 5× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 32 times in total; 6 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 ×2
- Bbm7 Fm Abii7 → vi Fmiv7 → iminor plagal ×1
The move to watch is Cm → Fm, heard 2 times. From the Ab side it reads iii → vi; from the Fm side it is v → i (natural-minor cadence: gentle, modal arrival). 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 Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over G#, land on G#, B#, D# — 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 Cm lays a solid floor for everything that follows. The chords that keep coming back are Cm, Bbm7, G#, Cm7; read them as iii–ii7–I–iii7 in Ab or v–iv7–III–v7 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. It closes on Cm, 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.
Göksel - Günün Birinde 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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