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)
Key Ab major – F minor Chords Bbm, Fm, Eb, Ab, Cm, Db, C Easy key C
Fm Bbm
Tekrara düşerken ben
Ab
Geceyi gölgeme düşüren
C
Zifri karanlıklar içinden sen
Fm Bbm
Ve siyahlara boyanmış elbisen
Fm
Rüzgarının ahenginden
Eb
Başım döner
Ab
Başım döner
Eb
Sen durma dünyaa
Cm Db
Belki bir gün bana da güler
Bbm Eb
Ya da bir ömür belkilerle geçer
Bbm Eb Fm
Ya da bir ömür belkilerle geçeeeeer
Fm Bbm
Sonbaharların yüzünden
Fm
Bir kelebek gibi
Bbm Eb Fm
Yalpalarken, uyursam eğer
Bbm
Uyandırma beni
Ab
Çünkü unutmam gerek
Cm
Tüm keşkelerimi
Ab
Başım döner
Eb
Sen durma dünyaa
Cm Db
Belki bir gün bana da güler
Bbm Eb
Ya da bir ömür belkilerle geçer
Bbm Eb Fm
Ya da bir ömür belkilerle geçeeeeer
End of song Play again?
Harmony 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
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 8 times against 4 for Ab 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.
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 | 4× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 9× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 3× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 1× |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 2× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 8× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 8× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 8× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 4× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 9× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 3× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 1× |
| VI | Db | Submediant — warm colour | Db · F · Ab | 2× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 8× |
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 35 times in total; 6 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.
The move to watch is Bbm → Eb, heard 5 times. From the Fm side it is iv → VII; from the Ab side it reads ii → V (ii → V: the classic preparation of the dominant). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
Starting on Fm, the song gives away its key from the very first bar. Bbm, Fm, Eb, Ab carry the song: ii–vi–V–I relative to Ab, iv–i–VII–III relative to 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 Bbm → Eb (ii → V in Ab, iv → VII in Fm): ii → V — the classic preparation of the dominant. The final chord is Fm; the ear comes to rest in Fm.
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.
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.
Ready-made lists by difficulty and mood.
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