Gülşen - Nazar Değmesin - Chord

Key Ab major – F minor Chords Cm7, Db, Bbm, Fm, F7, Eb Easy key C

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Capo 0

Cm7           Db      Cm7
Neyine güveniyor kalbim
               Bbm
Boyumdan büyük bu sevdam
Eb             Db
En zorunu buldum aşkın
Bbm              Cm7
Kendini bana sakla

Cm7
Yaşamazsam bugünü
         F7 Bbm
Hayat beni bağışlamaz
Db
Yarını bilmem unut dünü
Bbm               Cm7
Sana zararım dokunmaz

       Fm          Cm7
Bozuyorum aşk orucumu
Fm                Cm7
Yıllar sonra seninle
Fm             F7        Bbm
Aşıgım hayranım her bir zerrene
Db            Cm7 Db        Cm7
Bakmaya kıyamadım bir kez yüzüne
Db             Bbm            Cm7
Nazar değmesin eğilsin alem dizine

End of song Play again?

Gülşen - Nazar Değmesin Tabs

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Harmony analysis

Gülşen – Nazar Değmesin: key and chord analysis

The song opens on Cm7 and ends on Cm7. 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 Fm is heard 3 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	6×
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	10×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	6×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	1×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	3×
V7/ii	F7	Secondary dominant V/ii — leads to Bbmsecondary dominant	F · A · C · Eb	2×
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	3×
V7/iv	F7	Secondary dominant V/iv — leads to Bbmsecondary dominant	F · A · C · Eb	2×
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	6×
v7	Cm7	Minor dominant — soft pull	C · Eb · G · Bb	10×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	6×
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). 6 different chords appear 28 times in total; 5 of them sit naturally inside the shared scale. F7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×3
F7 Bbm AbV7/ii → iisecondary resolution FmV7/iv → iv ×2
Bbm Eb Abii → Vii → V Fmiv → VII ×1

The move to watch is Cm7 → Fm, heard 3 times. From the Fm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — 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.

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

Starting on Cm7, the song gives away its key from the very first bar. The chords that keep coming back are Cm7, Db, Bbm, Fm; read them as iii7–IV–ii–vi in Ab or v7–VI–iv–i in Fm. F7 adds a moment of surprise: secondary dominant V/ii — leads to Bbm. Keep an ear on Cm7 → Fm (iii7 → vi in Ab, v7 → i in Fm): natural-minor cadence — gentle, modal arrival. It closes on Cm7, 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.