Ali Baran - Mamoş Türküsü - Chord

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

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Capo 0

Fm     Bbm     Ab     Eb
Pencereden bir taş geldi

    Bbm    Ab   Eb     Fm
Ben sandım ki Mamoş geldi
    Ab     Eb   Fm
Ben sandım ki Mamoş geldi

 Fm    Bbm   Ab    Eb 
Uyan Mamoş, uyan Mamoş

Fm  Ab   Eb    Fm
Başımıza ne iş geldi
  Ab  Eb    Fm
Başımıza ne iş geldi

Fm   Bbm    Ab     Eb
Penceresi yeşil perde

  Bbm   Ab  Eb     Fm
Yeni düştüm ben bu derde
     Ab     Eb     Fm
Yeni düştüm ben bu derde

Fm   Bbm   Ab    Eb 
Kör olasın Bekir Hoca

Fm    Ab    Eb     Fm
Nasıl yatak bu dar yerde
  Ab    Eb     Fm
Nasıl yatak bu dar yerde

Fm      Bbm    Ab    Eb
Eyvah Mamoş, eyvah Mamoş

  Bbm   Ab     Eb   Fm
Tabip getir, imdada koş
  Ab    Eb     Fm
Tabip getir, imdada koş
   
Fm   Bbm    Ab     Eb 
Penceresi yeşil yaprak

  Bbm   Ab    Eb     Fm
Mamoş giyer siyah kalpak
  Ab    Eb    Fm
Mamoş giyer siyah kalpak

Fm   Bbm   Ab    Eb 
Kör olasın Bekir Hoca

Fm    Ab    Eb    Fm
Yatağımız kara toprak
  Ab  Eb    Fm
Yatağımız kara toprak

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Ali Baran - Mamoş Türküsü Tabs

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Harmony analysis

Ali Baran – Mamoş Türküsü: key and chord analysis

The song opens on Fm and ends on Fm. 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 both starts and finishes on Fm and Fm is heard 24 times against 21 for Ab. 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	21×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	11×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	—
V	Eb	Dominant — strongest pull home	Eb · G · Bb	21×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	24×
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	24×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	21×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	11×
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	—
VI	Db	Submediant — warm colour	Db · F · Ab	—
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	21×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 77 times in total; 4 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

Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×17

The move to watch is Eb → Fm, heard 17 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Ab, land on Ab, C, Eb — 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.

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 Fm, Ab, Eb, Bbm; read them as vi–I–V–ii in Ab or i–III–VII–iv in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. It closes on Fm, letting the Fm 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.