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)
İrem Derici - Yok Dostum Zor Dostum - Chord
Key Ab major – F minor Chords Fm, Db, Cm, Eb, Bbm, Ab Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Eb Fm Db Fm Eb Fm Db Cm
Cm Db
Saklama artık gerçegi senden öğrenmeliyim
Cm
Göze mi geldi aşkımız soyle ben bilmeliyim
Db
Başkası varsa karşımda durma çek git yoluna
Bbm Cm
Herşey burada bitmeli
Eb Fm Db Fm
Yok dostum zor dostum bu böyle olmaz
Eb Fm Db Cm
Kaderden arkadaş inan kaçılmaz
Eb Fm Db Fm
Şüphe varsa eğer sevgi yaşanmaz
Eb Fm Db Cm
Yalan dolanlarla zaman aşılmaz
Ab Eb
Ne yeminler etmiştin
Fm Cm
Hani beni sevmiştin
Ab Eb
Uğrumda can vermiştin
Fm Cm
Ya şimdi ki bu halin
Eb Fm Db Fm
Yok dostum zor dostum bu böyle olmaz
Eb Fm Db Cm
Kaderden arkadaş inan kaçılmaz
Eb Fm Db Fm
Şüphe varsa eğer sevgi yaşanmaz
Eb Fm Db Cm
Yalan dolanlarla zaman aşılmaz
Cm Db
Kabahat bende belkide sende bilemiyorum
Cm
Kördüğüm oldum bu işin sonunu çözemiyorum
Db
Gözyaşı değil süzülen gözlerimden ağlamıyorum
Bbm Cm
Sensizliğe hazırım
End of song Play again?
İrem Derici - Yok Dostum Zor Dostum Tabs
NotesX
Harmony analysis
İrem Derici – Yok Dostum Zor Dostum: key and chord analysis
The song opens on Eb 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 F minor side because Fm is heard 17 times against 2 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 2× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 13× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 14× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 17× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 17× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 2× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 13× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 14× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 12× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 60 times in total; 6 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
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×12
- Db Fm AbIV → vi FmVI → iVI → i ×5
The move to watch is Eb → Fm, heard 12 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, 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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
The first chord is Eb; the ear learns where home is within a second. The backbone is Fm, Db, Cm, Eb — vi–IV–iii–V from the Ab side, i–VI–v–VII from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. Ending on Cm, 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.
İrem Derici - Yok Dostum Zor Dostum 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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