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)
Serdar Ortaç - Hadi Çal - Chord
Key Ab major – F minor Chords C, A#m, C#, Fm Easy key C
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Key: Ab | Fm
Capo: 0
C
İkimiz için aynı bedende, bir ufak deli kalp diyecekler
C# A#m C
Kimi gün atacak, kimi gün batacak yapayalnız
C
Sabah üstünü örtmediğimde, saçını sevip aşk dediğimde
C# A#m C
Geceler kopacak yeniden doğacak gün apansız
Fm A#m Fm A#m
Seni öptüğüm ilk gece bahçede, yüreğim duruyor orada öylece
C# A#m C
Hadi git getir al uyanınca otur yanıma
Fm A#m Fm A#m
Denedim yetecek mi ki sabrımız, bitecek mi gönül deli kahrımız
C# A#m C
Hadi ben bi hata yapıp ayrıldığım aynını sen yapma
C C# A#m C
Hadi çal giderken kapımı, nefes aldığım süre seninim
C C# A#m C
Kapadım bütün yollarımı, bebeğin gülün serserinim
End of song Play again?
Serdar Ortaç - Hadi Çal Tabs
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Harmony analysis
Serdar Ortaç – Hadi Çal: key and chord analysis
The song opens on C and ends on C. 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)
- #7 = E (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because Fm is heard 4 times while Ab never appears and the major V chord points straight at Fm. 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# | 10× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 10× |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| 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# | 10× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 10× |
| VI | C# | Submediant — warm colour | C# · E# · G# | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 30 times in total; 3 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm.
Chord movement
- A#m C Abii → V/vi Fmiv → Viv → V ×6
- C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×2
- A#m Fm Abii → vi Fmiv → iminor plagal ×2
The move to watch is A#m → C, heard 6 times. From the Fm side it is iv → V (iv → V: the minor side's tension builder); from the Ab side it reads ii → V/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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
- Over C#, land on C#, E#, G# — the chord's own tones always sound right on strong beats.
- When C comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.
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 first chord is C; the ear learns where home is within a second. The chords that keep coming back are C, A#m, C#, Fm; read them as V/vi–ii–IV–vi in Ab or V–iv–VI–i in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A#m → C (ii → V/vi in Ab, iv → V in Fm): iv → V — the minor side's tension builder. Ending on C, the song seals Ab 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.
Serdar Ortaç - Hadi Çal 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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