Manuş Baba - Hasret Kapısı - Chord

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

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Capo 0

Fm
Derdimden bin beter olmuşum bu gece

Hasret kapısında oturmuşum tek başıma
Bbm
Halimden bilenler yüzüme gülerler
Eb                 Bbm    Cm         Fm
Ne yapsam ne etsem sensiz yaşanmıyor ki

Fm                             C
Perişandır halim soran kimse olmaz
                                    Fm
Elimde son kadeh bana bu gece gün doğmaz
                              C
Paramparça olmuş, delirmişim aşkından
C                                    Fm
Sana gelince gülüm bu yürek sensiz olmaz

Fm
Çaldım kapını ben, kaç kere o gece

Ağlamışım kurdela, en sevdiğim çiçeğe
Bbm
Açmadın kapını, göreyim gül yüzünü
Eb                Bbm        Cm
Şu garip ne halde bir bilsen öleceğim

Fm
Derdimden bin beter olmuşum bu gece

Hasret kapısında oturmuşum tek başıma
Bbm
Halimden bilenler yüzüme gülerler
Eb                 Bbm    Cm         Fm
Ne yapsam ne etsem sensiz yaşanmıyor ki

Fm  Fm  Fm  Fm  Fm  Bbm  Eb  Bbm  Cm

Fm                       C
Ben eskiden böyle insan değildim
                            Fm
Seni gördüm göreli kendimde değilim
                         C
Senden bana yar olmaz ki bilirim
                         Fm
Lakin kalbime söz geçmez bu değilim

End of song Play again?

Manuş Baba - Hasret Kapısı Tabs

NotesX

Harmony analysis

Manuş Baba – Hasret Kapısı: key and chord 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

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)
#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 it both starts and finishes on Fm, Fm is heard 16 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	8×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	4×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	5×
IV	Db	Subdominant — moves away from home	Db · F · Ab	—
V	Eb	Dominant — strongest pull home	Eb · G · Bb	4×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	16×
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	16×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	8×
v	Cm	Minor dominant — soft pull	C · Eb · G	4×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	5×
VI	Db	Submediant — warm colour	Db · F · Ab	—
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	4×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 37 times in total; 4 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

C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×4
Bbm Eb Abii → Vii → V Fmiv → VII ×4
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×4

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.

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 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.
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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Fm; the ear learns where home is within a second. The chords that keep coming back are Fm, Bbm, C, Eb; read them as vi–ii–V/vi–V in Ab or i–iv–V–VII 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 C → Fm (V/vi → vi in Ab, V → i in Fm): harmonic-minor cadence — the major V resolves dramatically. It closes on Fm, letting the Fm 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.