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)
Faiq Agayev - Donme Geri - Chord
Key Ab major – F minor Chords Fm, Bbm, Am, Dm, Dbmaj7, C, C7, F … Easy key C
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Key: Ab | Fm
Capo: 0
Fm Dbmaj7 Bbm C Fm
Fm Dbmaj7
Aldandımsa sene, meni avam bilme
Bbm
İnandımsa, bil ki, inanmaram yine
Acizliyime kenardan bakıb gülme
C
Get, dönme geri
Fm Dbmaj7
Nece sevmişem, ele de unudaram
Bbm
Xeyanetin içimdeki gönül yaram
C
Qorxuram, seni yene de bağışlaram
Bbm C7 Fm
Odur ki, get, dönme geri, dönme geri
Dbmaj7 Bbm
Ümidli anlarımın qenimi
C7 Fm
Saflığına inandırma meni
Bbm C7 Dbmaj7
Get, dönme geri, dönme geri
Fm
Apar özünle qemi, kederi
C7 Bbm C Am
Unut meni, unut o günleri
Am F
Sevgi dolu bir dünyamı alt üst ettin
Dm
Ümit verib sonra geri alıp ittin
Olmağın olmamağından daha çetin
E
Get, dönme geri
Am F
Nece sevmişem, ele de unudaram
Dm
Xeyanetin içimdeki gönül yaram
E
Qorxuram, seni yene de bağışlaram
Dm E7 Am
Odur ki, get, dönme geri, dönme geri
F Dm
Ümidli anlarımın qenimi
E7 Am
Saflığına inandırma meni
Dm E7 F
Get, dönme geri, dönme geri
Am
Apar özünle qemi, kederi
E7 Dm
Unut meni, unut o günleri
E
Geeet
End of song Play again?
Faiq Agayev - Donme Geri Tabs
NotesX
Harmony analysis
Faiq Agayev – Donme Geri: key and chord analysis
The song opens on Fm and ends on E. 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)
- #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 opens on Fm, Fm is heard 7 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| bii | Am | Chromatic colour chordoutside the key | A · C · E | 6× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 7× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 4× |
| V7/vi | C7 | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G · Bb | 4× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 5× |
| #iv | Dm | Chromatic colour chordoutside the key | D · F · A | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| bVI7 | E7 | Borrowed from the parallel minorborrowed chord | E · G# · B · D | 4× |
| bVI | E | Borrowed from the parallel minorborrowed chord | E · G# · B | 3× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 7× |
| V/ii | F | Secondary dominant V/ii — leads to Bbmsecondary dominant | F · A · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 7× |
| V/iv | F | Secondary dominant V/iv — leads to Bbmsecondary dominant | F · A · C | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| #iii | Am | Chromatic colour chordoutside the key | A · C · E | 6× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 7× |
| 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 | 4× |
| V7 | C7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G · Bb | 4× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 5× |
| #vi | Dm | Chromatic colour chordoutside the key | D · F · A | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
| #VII7 | E7 | Chromatic colour chordoutside the key | E · G# · B · D | 4× |
| #VII | E | Chromatic colour chordoutside the key | E · G# · B | 3× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 10 different chords appear 50 times in total; 3 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 / C7 is V/vi, a secondary dominant heading for Fm. F acts as a secondary dominant, briefly pointing at another chord of the key. E7, E are borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bbm C Abii → V/vi Fmiv → Viv → V ×4
- Bbm C7 Abii → V7/vi Fmiv → V7iv → V ×3
- C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×2
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×2
- E7 Am AbbVI7 → biisecondary resolution Fm#VII7 → #iii ×2
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×1
The move to watch is Bbm → C, heard 4 times. From the Fm side it is iv → V (iv → V: the minor side's tension builder); from the Ab side it reads ii → V/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 Am, land on A, C, E — 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.
- On E7, follow the chord's notes (E · G# · B · D) rather than the key's scale — it's a borrowed colour.
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
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. The backbone is Fm, Bbm, Am, Dm — vi–ii–bii–#iv from the Ab side, i–iv–#iii–#vi from the Fm side. 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 → C (ii → V/vi in Ab, iv → V in Fm): iv → V — the minor side's tension builder. The final chord is E; the ear comes to rest in Ab.
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.
Faiq Agayev - Donme Geri 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: Gövher Hesenzade Music: Gövher Hesenzade
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