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)
Ceylan Koynat - Söz Vermiştik (Bahtiyar Özdemir) - Chord
Key Ab major – F minor Chords Cm, Bbm, C#, F, G#, Ab Easy key C
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Key: Ab | Fm
Capo: 0
Cm Bbm Vazgeçmek senden ne kadar zor Cm Bbm Sevdan yüreğimde bir avuç kor C# F Bbm Nasıl sevdim seni gözlerine sor C# Cm Bbm Gölgende ölmek istiyorum C# Ab Bbm Cm Öyle bakma bana çok seviyorum Cm C# Söz vermiştik ikimizde Cm G# F Bbm Napalım canım değil ki elimizde Cm C# Sen soyluydun bense züppe Cm G# Bbm Cm Yüreğim kaldı senin gözlerinde Cm C# Söz vermiştik ikimizde Cm G# F Bbm Napalım canım değil ki elimizde Cm C# Sen doğruydun bense sahte Cm Masal bitti bak G# Bbm Cm Kül kedisiyim yine Cm Bbm Bitmez dilde kelam çare olmaz ki Cm Bbm Bir hoş sohbet selam bana yetmez ki C# F Bbm Dinmez gözde yaşlar durmaz bilmez ki C# Cm Bbm Gölgende ölmek istiyorum C# Ab Bbm Cm Öyle bakma bana çok seviyorum
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Ceylan Koynat - Söz Vermiştik (Bahtiyar Özdemir) Tabs
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Harmony analysis
Ceylan Koynat – Söz Vermiştik (Bahtiyar Özdemir): key and chord analysis
The song opens on Cm and ends on Cm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Ab major side because Ab is heard 6 times while Fm never appears. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 | G# | Tonic — home | G# · B# · D# | 4× |
| I | Ab | Tonic — home | Ab · C · Eb | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 14× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 18× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| V/ii | F | Secondary dominant V/ii — leads to Bbmsecondary dominant | F · A · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| V/iv | F | Secondary dominant V/iv — leads to Bbmsecondary dominant | F · A · C | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | G# | Relative major — the bright side | G# · B# · D# | 4× |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 14× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 18× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 10× |
| 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). 6 different chords appear 52 times in total; 5 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C# Ab AbIV → Iplagal cadence FmVI → III ×2
The move to watch is C# → Ab, heard 2 times. From the Ab side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Fm side it is VI → III. 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 Bbm, land on Bb, Db, F — 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
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
Starting on Cm, the song gives away its key from the very first bar. Cm, Bbm, C#, F carry the song: iii–ii–IV–V/ii relative to Ab, v–iv–VI–V/iv relative to Fm. F adds a moment of surprise: secondary dominant V/ii — leads to Bbm. Keep an ear on C# → Ab (IV → I in Ab, VI → III in Fm): plagal cadence — the soft 'amen' ending. It closes on Cm, 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.
Ceylan Koynat - Söz Vermiştik (Bahtiyar Özdemir) 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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