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)
Merve Çalkan - Gözlerin - Chord
Key Ab major – F minor Chords Ab, Fm, Bbm, Eb, Db Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Ab Fm
Sana bakarken, gözlerinde bir ışık
Bir söz, bir heves duyar gibiyim
Ab Fm
Seni dinlerken, ellerimde bir eski
Bbm
Bir yeni aşk bulur gibiyim
Ab Fm Bbm
Senin yakınında bu kadar üşümek doğru mu
Ab Fm
Senin yakınında bu kadar korkmak doğru mu, söyle
Bbm Eb Db
Aklımda uzakları gösterircesine uzanmış parmakların
Eb Ab
Aynı göğün altında mı uzanmaktayız
Bbm
Doğrusu şöyle
Eb Db Ab
Yamaçlarında dirseklerimden tutulmuş düşmeye değmek üzereyim
Ab
Beni ararken
Fm
Nefesinde bir yarım aralık bulur gibiyim
Ab
Seni söylerken
Fm Bbm
Adında soluklanmak, sende kaybolmak üzereyim
Ab Fm Bbm
Senin yakınında bu kadar üşümek doğru mu
Ab Fm
Senin yakınında bu kadar korkmak doğru mu, söyle
Ab Fm Bbm
Senin yakınında bu kadar üşümek doğru mu
Ab Fm
Senin yakınında bu kadar korkmak doğru mu, söyle
Bbm Eb Db
Aklımda uzakları gösterircesine uzanmış parmakların
Eb Ab
Aynı göğün altında mı uzanmaktayız
Bbm
Doğrusu şöyle
Eb Db Ab
Yamaçlarında dirseklerimden tutulmuş düşmeye değmek üzereyim
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Merve Çalkan - Gözlerin Tabs
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Harmony analysis
Merve Çalkan – Gözlerin: key and chord analysis
The song opens on Ab and ends on Ab. 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 it both starts and finishes on Ab and Ab is heard 14 times against 10 for Fm. 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 | Ab | Tonic — home | Ab · C · Eb | 14× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 9× |
| 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 | Db | Subdominant — moves away from home | Db · F · Ab | 4× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 6× |
| 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 | 14× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 9× |
| 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 | Db | Submediant — warm colour | Db · F · Ab | 4× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 43 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
- Bbm Eb Abii → Vii → V Fmiv → VII ×4
- Eb Ab AbV → Iauthentic cadence FmVII → III ×2
- Db Ab AbIV → Iplagal cadence FmVI → III ×2
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
The move to watch is Bbm → Eb, heard 4 times. From the Ab side it reads ii → V (ii → V: the classic preparation of the dominant); from the Fm side it is iv → VII. 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 Ab, land on Ab, C, Eb — 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 Bbm, land on Bb, Db, F — 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
- 4 semitones up
The song's harmonic story
The opening Ab lays a solid floor for everything that follows. The chords that keep coming back are Ab, Fm, Bbm, Eb; read them as I–vi–ii–V in Ab or III–i–iv–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Eb (ii → V in Ab, iv → VII in Fm): ii → V — the classic preparation of the dominant. Ending on Ab, 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.
Merve Çalkan - Gözlerin 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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