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)
Mustafa Ceceli - Gün Ağarmadan (Irmak Arıcı) - Chord
Key Ab major – F minor Chords Db, Cm, Fm, Eb, Bbm, Ab, Bbm7, Cm7 Easy key C
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Key: Ab | Fm
Capo: 0
Cm Db Bbm Ab
Cm Db
Hangimiz düşmedik dillere
Bbm Ab
Yolumuz ayrıldı inandık ellere
Cm Db
Kendime direndim belki de
Bbm Ab
Geç kaldım hasreti öğrenmeye
Fm Bbm7
Zamanla geçer mi
Cm7 Db
Kalmak ister bir yanım
Eb Db
Bir yanım gider mi
Fm Cm
Ben bu şehirde kaybolunca
Eb Db
Gün ağarmadan bulamam seni
Fm Cm
Geceler hep dert olunca
Eb Db
Kokun hala kör eder beni
Fm Cm
Ben bu şehirde kaybolunca
Eb Db
Gün ağarmadan bulamam seni
Fm Cm
Geceler hep dert olunca
Eb Db
Kokun hala kör eder beni
Cm Db Bbm Ab
End of song Play again?
Mustafa Ceceli - Gün Ağarmadan (Irmak Arıcı) Tabs
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Harmony analysis
Mustafa Ceceli – Gün Ağarmadan (Irmak Arıcı): key and chord analysis
The song opens on Cm and ends on Ab. 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 because it comes to rest on Ab and Fm is heard 5 times against 4 for Ab. 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 | 4× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 4× |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 1× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 8× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 1× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 5× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 5× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 5× |
| 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 | 4× |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 1× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 8× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 1× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 5× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 8 different chords appear 38 times in total; 8 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 Fm AbIV → vi FmVI → iVI → i ×4
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×1
The move to watch is Db → Fm, heard 4 times. From the Ab side it reads IV → vi; from the Fm side it is VI → i (VI → i: falls a half step into 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 Fm, land on F, Ab, C — 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. The chords that keep coming back are Db, Cm, Fm, Eb; read them as IV–iii–vi–V in Ab or VI–v–i–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. The final chord is Ab; 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.
Mustafa Ceceli - Gün Ağarmadan (Irmak Arıcı) 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: Ahmet HatipoğluMusic: Ahmet HatipoğluArrangement: Mustafa Ceceli
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