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)
Key Ab major – F minor Chords Fm, Cm, Bbm, Db, C, Eb, Ab Easy key C
Fm Cm
Sonunda bitti galiba görüyorum
Bbm C Fm
İçimde can çekişlerini duyuyorum
Ab Cm
Sözlerin çok acıtıyor ölüyorum
Bbm Db Fm
Keşke baştan söyleseydin gidiyorum
Bbm Db C Fm
Nasılsa koymaz sana biliyorum
Fm Cm Eb Db
Kalbime gömerim o zaman, unutup da silerim o zaman
Bbm Cm Fm
Alt tarafı aşk bu da işte, vazgeçilmez misin aman
Cm Eb Db
Sanane ki ağlıyorsam, deli gibi istiyorsam
Bbm Cm Eb Db Cm
Hala seni seviyorsam, sanane anlamıyorsan
Fm Cm
Yalanmış demek her şeyin bilemedim
Bbm C Fm
Saklamışsın nefretini göremedim
Ab Cm
Olmayınca olmuyor sen sevemedin
Bbm Db Fm
Yazılmış kadere ayrılık silemedim
Bbm Db C Fm
Alıştım zor olsa da kabullendim
End of song Play again?
Harmony 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
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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, Fm is heard 10 times against 2 for Ab 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.
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 | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 8× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 9× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 4× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 7× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 3× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 8× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 9× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 4× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 7× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 3× |
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 43 times in total; 6 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.
The move to watch is C → Fm, heard 4 times. From the Fm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
Starting on Fm, the song gives away its key from the very first bar. The backbone is Fm, Cm, Bbm, Db — vi–iii–ii–IV from the Ab side, i–v–iv–VI from the Fm side. 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 C → Fm (V/vi → vi in Ab, V → i in Fm): harmonic-minor cadence — the major V resolves dramatically. Ending on Fm, the song seals Fm 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.
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.
Ready-made lists by difficulty and mood.
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