Funda Arar - Alagül - Chord

Key Ab major – F minor Chords Db, Cm, Bbm, Fm, Eb Easy key G (capo 1)

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Capo 0

Fm  Eb  Db  Cm  Db  Bbm  Cm

Cm           Db
Gün geceyi bulur
      Cm          Db
Zaman canı alır durur
      Eb  Fm              Db    Bbm             Cm
Bir deliii yoldur dünya yürürüm, yürürüm yorulmadan
      Eb   Fm              Db    Bbm            Cm
Bir yanııık düştür sevda görürüm, görürüm uyanmadan

Fm          Db
 Yanar yanar yanmaya yanmış gönül
Eb          Cm
 Kanar durur içimde bir alagül
Db          Bbm
 Döner başım döner alıcı kuşlar
Db                   Bbm                Cm
 Kışlara dönmüş yazım ölüme dönmüş yüzüm yar

Fm  Db  Eb  Cm  Db  Bbm  Db  Bbm  Cm

Cm            Db
Zaman durmaz akar
      Cm          Db
Bir yüzüm de güze bakar
      Eb  Fm              Db    Bbm             Cm
Bir deliii yoldur dünya yürürüm, yürürüm yorulmadan
      Eb   Fm              Db    Bbm            Cm
Bir yanııık düştür sevda görürüm, görürüm uyanmadan

Fm          Db
 Yanar yanar yanmaya yanmış gönül
Eb          Cm
 Kanar durur içimde bir alagül
Db          Bbm
 Döner başım döner alıcı kuşlar
Db                   Bbm                Cm
 Kışlara dönmüş yazım ölüme dönmüş yüzüm yar

End of song Play again?

Funda Arar - Alagül Tabs

NotesX

Harmony analysis

Funda Arar – Alagül: key and chord analysis

The song opens on Fm and ends on Cm. 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: to us the song feels closer to the F minor side because it opens on Fm and Fm is heard 8 times while Ab never appears. 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.

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	11×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	16×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	19×
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	—

Seen from F minor
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	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	11×
v	Cm	Minor dominant — soft pull	C · Eb · G	16×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	19×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	8×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 62 times in total; 5 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 ×5
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×4
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×3

The move to watch is Db → Eb, heard 5 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). 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 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.
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

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are Db, Cm, Bbm, Fm; read them as IV–iii–ii–vi in Ab or VI–v–iv–i in 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): VI → VII — the rising step that heads for the tonic. The final chord is Cm; 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.