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)
Okay Barış - Aşktan Giderken - Chord
Key Ab major – F minor Chords Cm, Eb, Bbm, Db, Fm, Ab Easy key C
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Key: Ab | Fm
Capo: 0
Cm Db
Ne ilk ne sonuncusun
Eb Bbm Eb
Düşüp de bu tuzağa kaybeden
Cm Db Eb
Kendini terk eder insan
Bbm Cm
Aslında aşktan giderken
Cm Db
Bir varken bir yokmuşuz
Eb Bbm Eb Db Cm
Masalmışız, yaş almışız derken
Db
Evet doğruydu gitmen
Cm Bbm Cm
Er geç ayrılacaktık zaten
Fm Cm
O gönlün oldu mu
Bbm Cm
Soğudu mu için
Eb Cm
Bir cevap buldun mu
Bbm Cm
Neden, nasıl, niiiiçiin
Cm
Bas bas bağır adımı
Duyan yok feryadını
Db Eb
Bağır çağır
Cm
Al tacını tahtını
Ab
Bin defa yüz bin defa
Bbm Cm
Hayır hayır
Cm Db
Ne yaz ne kışmışım
Eb Bbm Eb
Bir bakmışım yalancı baharmışım
Cm Db Eb
Zamanı bölmüşüm çok ölmüşüm
Bbm Cm
Ben neler görmüşüm
Fm Cm
O gönlün oldu mu
Bbm Cm
Soğudu mu için
Eb Cm
Bir cevap buldun mu
Bbm Cm
Neden, nasıl, niiiiçiin
Cm
Bas bas bağır adımı
Duyan yok feryadını
Db Eb
Bağır çağır
Cm
Al tacını tahtını
Ab
Bin defa yüz bin defa
Bbm Cm
Hayır hayır
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Okay Barış - Aşktan Giderken Tabs
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Harmony analysis
Okay Barış – Aşktan Giderken: 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.
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 | 12× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 24× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 9× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 2× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 2× |
| 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 | 12× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 24× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 9× |
| 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 61 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
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×7
- Bbm Eb Abii → Vii → V Fmiv → VII ×3
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
The move to watch is Db → Eb, heard 7 times. From the Ab side it reads IV → V (IV → V: the lift that builds tension before home); from the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Eb, land on Eb, G, Bb — 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
- 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, Eb, Bbm, Db carry the song: iii–V–ii–IV relative to Ab, v–VII–iv–VI relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): IV → V — the lift that builds tension before 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.
Okay Barış - Aşktan Giderken 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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Lyrics: Yıldız Tilbe Music: Sezen AksuArrangement: Okay Barış
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