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)
Müslüm Gürses - Adını Sen Koy - Chord
Key Ab major – F minor Chords Eb, Fm, Cm, Db, Bbm, Bb Easy key C
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Key: Ab | Fm
Capo: 0
Fm Eb
Fm Eb
Fm Eb Db Cm Db Fm Eb Db Bbm Cm
Eb Db Bbm Cm
Özlerim ben seni seninle bile
Fm Eb Fm
Vuslat mı hasret mi adını sen koy
Cm Db Cm Eb
Aşkınla yakıp da düşürdün dile
Fm Eb Bbm Cm
Sevgi mi nefret mi adını sen koy
Fm
İlk ve son aşkımdın gençlik çağımda
Db
Sevgi çiçeğimdin gönül bağımda
Cm Db
Öyle yer etmiştin kalp otağımda
Fm Eb Db Bb Cm
Sıla mı gurbet mi adını sen koy adını sen koy
Eb Db Bbm Cm
Aşkın ateşi yakar kavurur
Fm Eb Fm
Rüzgarın oğlusun aşkla savur
Cm Db Cm Eb
Bağır delersin bakınca durur
Fm Eb Bbm Cm
Nazar mı hiddet mi adını sen koy
End of song Play again?
Müslüm Gürses - Adını Sen Koy Tabs
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Harmony analysis
Müslüm Gürses – Adını Sen Koy: 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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 5× |
| V/V | Bb | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F | 1× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 12× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 13× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 12× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| 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 | 5× |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 1× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 12× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 13× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 53 times in total; 5 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×6
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×3
- Db Fm AbIV → vi FmVI → iVI → i ×2
The move to watch is Eb → Fm, heard 6 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Eb, land on Eb, G, Bb — 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. Eb, Fm, Cm, Db carry the song: V–vi–iii–IV relative to Ab, VII–i–v–VI relative to Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. 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.
Müslüm Gürses - Adını Sen Koy 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: Gülten ÇiçekMusic: Sinan ÖzşekerArrangement: Tarık Ağansoy
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