Gülşen - Bir İhtimal Biliyorum - Chord

Key Ab major – F minor Chords Cm, Fm, C#, Bbm, Abmaj7 Easy key C

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Capo 0

Fm  Cm  Fm  Cm

Fm
Gözyaşım kurak, bak bu son durak
      Cm
İndim yürüyorum
Fm
Harcayıp attın, sen bizi sattın
Cm
İnanamıyorum

Fm
Nasıl bir yalan, koynumda yılan mı
   Cm
Besledim yani
Fm                              Cm
Ölümü şaka sanmışsın, demek ben hiç

Gülmüyorum

Cm                         C#
Seni benden başkası kesmez asla
Cm                          C#
Bir ben etmez kimi istersen çarp çıkar topla
Cm                      Bbm
Pişmanları oynayacaksın sonra
Abmaj7                   Cm
Bir merasimle döneceksin o gün ana yurda

Fm       Cm
Yanıyor, yanıyorum
Fm       Cm
Sayıyor, sövüyorum
Fm       Cm
Bitmeyen hesabım var
Bbm    Cm
Almaya geliyorum

Fm       Cm
Yanıyor, yanıyorum
Fm          Cm
Bir ihtimal biliyorum
Fm
O da ölmek
Cm         C#
Senin için değer mi
    Cm
Hiç sanmıyorum

Fm  Cm  Fm  Cm

End of song Play again?

Gülşen - Bir İhtimal Biliyorum Tabs

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Harmony analysis

Gülşen – Bir İhtimal Biliyorum: 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.

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 it opens on Fm and Fm is heard 14 times against 1 for Ab. 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
Imaj7	Abmaj7	Tonic — home	Ab · C · Eb · G	1×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	2×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	20×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	C#	Subdominant — moves away from home	C# · E# · G#	3×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	14×
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	14×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
IIImaj7	Abmaj7	Relative major — the bright side	Ab · C · Eb · G	1×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	2×
v	Cm	Minor dominant — soft pull	C · Eb · G	20×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	C#	Submediant — warm colour	C# · E# · G#	3×
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). 5 different chords appear 40 times in total; 5 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 ×13

The move to watch is Cm → Fm, heard 13 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → 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 Cm, land on C, Eb, G — 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 C#, land on C#, E#, 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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. The backbone is Cm, Fm, C#, Bbm — iii–vi–IV–ii from the Ab side, v–i–VI–iv from the Fm side. 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. 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.