Batuhan Kordel - Dönme - Chord

Key Ab major – F minor Chords F#m, Bm, C#7, D Easy key F# (capo 2)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

F#m  Bm  D  C#7 

F#m
İçimdeki boşluk, yıllardır dolmuyor
 
Kafamdaki sesler, ne içsem dinmiyor
Bm
Bu sahte yorgunluk ve haklı kızgınlık
                          C#7
Aylarca uyudum, bir türlü gitmiyor

F#m
Sırtımda hırkamla,bu soğuk baharda
 
Bilinmez yalnızım, elimde sigaram
Bm
İnsanlar hep haksız, ama bir istisna 
                              C#7
Çok şeyi hakettim, bir yere kadar

F#m
Ama dönme, ne olursun orda kal
Bm
Umarım çıkmazsın karşıma bir daha
D
Sözlerim acıtır, gözlerime bakma
C#7
Tek bir söz söyleme, varsa az utanman

F#m
Ama dönme, ne olursun orda kal
Bm
Umarım çıkmazsın karşıma bir daha
D
Sözlerim acıtır, gözlerime bakma
C#7
Tek bir söz söyleme, varsa az utanman

End of song Play again?

Batuhan Kordel - Dönme Tabs

NotesX

Harmony analysis

Batuhan Kordel – Dönme: key and chord analysis

The song opens on F#m and ends on C#7. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
biii	Bm	Chromatic colour chordoutside the key	B · D · F#	5×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
III	C	Chromatic colour chordoutside the key	C · E · G	—
IV7	C#7	Chromatic colour chordoutside the key	C# · E# · G# · B	5×
#IV	D	Chromatic colour chordoutside the key	D · F# · A	3×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	—
bvii	F#m	Chromatic colour chordoutside the key	F# · A · C#	5×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	—
bii	F#m	Chromatic colour chordoutside the key	F# · A · C#	5×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	—
#iv	Bm	Chromatic colour chordoutside the key	B · D · F#	5×
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	—
VI7	C#7	Chromatic colour chordoutside the key	C# · E# · G# · B	5×
#VI	D	Chromatic colour chordoutside the key	D · F# · A	3×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	—

Analysis

The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 18 times in total; 0 of them sit naturally inside the shared scale. F#m, Bm, C#7, D step outside the scale as colour chords.

Chord movement

C#7 F#m AbIV7 → bviisecondary resolution FmVI7 → bii ×4

The move to watch is C#7 → F#m, heard 4 times. From the Ab side it reads IV7 → bvii (secondary resolution: C#7 resolves a fourth up to F#m); from the Fm side it is VI7 → bii. 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 F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
Over C#7, land on C#, E#, 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

2 semitones down · capo 2 keeps the original pitch
3 semitones up

The song's harmonic story

The first chord is F#m; the ear learns where home is within a second. F#m, Bm, C#7, D carry the song: bvii–biii–IV7–#IV relative to Ab, bii–#iv–VI7–#VI relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C#7 → F#m (IV7 → bvii in Ab, VI7 → bii in Fm): secondary resolution — C#7 resolves a fourth up to F#m. It closes on C#7, letting the Ab side have the last word.

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.