Deniz Tekin - Baktın Olmuyo (Can Ozan) - Chord

Key Ab major – F minor Chords Fm, C#, G#, D# Easy key G (capo 1)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Fm       C#
Dünyanın en güzel yeri
G#         D#
Senin yanın evet ama
Fm     C#         G#  D#
Gelmek yasaktır bana

Fm       C#
Sen dünyanın bi ucunda
G#         D#
Ben ellerim avucumda
Fm     C#          G#  D#
Kaldım bu boş diyarda

Fm      C#
Olur ya insan değişir
G#      D#
Başka bedenlerle sevişir
Fm       C#             G#  D#
Gerek yok suçluluk duymaya

Fm        C#
Dinle, dinle
G#      D#           Fm      C#
Baktın olmuyo bu şarkıyı söyle
G#      D#            Fm   C#
Bi gülümseme kondursun yüzüne
G#      D#
Sen hiç üzülme asla
Fm      C#      G#      D#
Ziyan olmazsın, ziyan olmazsın

Fm         C#
Her gecemde gündüzümde
G#         D#
Hiç gözümde uyku yokken
Fm      C#      G#  D#
Saatlerce düşündüm

Fm         C#
Doğru zaman, doğru insan
G#            D#
Yanlış karar yok işin özünde
Fm     C#       G#  D#
Sen beni istemedin

End of song Play again?

Deniz Tekin - Baktın Olmuyo (Can Ozan) Tabs

NotesX

Harmony analysis

Deniz Tekin – Baktın Olmuyo (Can Ozan): key and chord analysis

The song opens on Fm and ends on D#. 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. 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	G#	Tonic — home	G# · B# · D#	14×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	C#	Subdominant — moves away from home	C# · E# · G#	14×
V	D#	Dominant — strongest pull home	D# · G · A#	14×
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	—
III	G#	Relative major — the bright side	G# · B# · D#	14×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	—
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	—
VI	C#	Submediant — warm colour	C# · E# · G#	14×
VII	D#	Subtonic — steps back to the tonic	D# · G · A#	14×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 56 times in total; 4 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

C# G# AbIV → Iplagal cadence FmVI → III ×14
D# Fm AbV → videceptive cadence FmVII → iAeolian arrival ×13

The move to watch is C# → G#, heard 14 times. From the Fm side it is VI → III; from the Ab side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 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.
Over G#, land on G#, B#, D# — 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

1 semitone down · capo 1 keeps the original pitch
1 semitone up

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. Fm, C#, G#, D# carry the song: vi–IV–I–V relative to Ab, i–VI–III–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → G# (IV → I in Ab, VI → III in Fm): plagal cadence — the soft 'amen' ending. Ending on D#, 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.