Gülşen - Arkadaş Kalalım - Chord

Key Ab major – F minor Chords Cm7, Fm7, Dbmaj7, Bbm7, Eb, Db, Fm Easy key C

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Capo 0

Fm7  Cm7  Dbmaj7  Cm7  Bbm7  Eb  Dbmaj7  Cm7  Fm7

Fm7                        Cm7
Hep sınırlar çizdin bana güzel ellerinle
               Bbm7        Db            Fm
Kurallarınla kaldın akıllarda, ben ihlalinle
                              Cm7
Ben dedim aşk beklemez, sen dünya işlerinde
                Bbm7          Db             Fm
Ödünç alır gibi yapacak halim yok, ihtimalim de

Bbm7        Cm7    Dbmaj7           Fm7
Sansür koymadan oturup dürüst konuşalım mı
Bbm7       Cm7       Dbmaj7        Fm7
Baktık yürümüyor medenice el sıkışalım

Fm7            Cm7
Kalanına razı olup yetinir gibi
Dbmaj7         Cm7
Olana da mani olup direnir gibi
Bbm7             Eb
Her şeyi alttan alıp yaranır gibi
Db           Cm7
Dertli mi olalım

Fm7            Cm7
Kalanına razı olup yetinir gibi
Dbmaj7         Cm7
Olana da mani olup direnir gibi
Bbm7             Eb
Bence bir sakin olup eskisi gibi
Db           Cm7
Arkadaş kalalım

Fm7  Cm7  Dbmaj7  Cm7  Bbm7  Eb  Dbmaj7  Cm7  Fm7

End of song Play again?

Gülşen - Arkadaş Kalalım Tabs

NotesX

Harmony analysis

Gülşen – Arkadaş Kalalım: key and chord analysis

The song opens on Fm7 and ends on Fm7. 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 11 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	—
ii7	Bbm7	Supertonic — prepares the dominant	Bb · Db · F · Ab	8×
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	16×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	8×
IV	Db	Subdominant — moves away from home	Db · F · Ab	4×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	4×
vi7	Fm7	Relative minor — the melancholy side	F · Ab · C · Eb	9×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	2×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i7	Fm7	Tonic — home	F · Ab · C · Eb	9×
i	Fm	Tonic — home	F · Ab · C	2×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv7	Bbm7	Subdominant — moves away from home	Bb · Db · F · Ab	8×
v7	Cm7	Minor dominant — soft pull	C · Eb · G · Bb	16×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VImaj7	Dbmaj7	Submediant — warm colour	Db · F · Ab · C	8×
VI	Db	Submediant — warm colour	Db · F · Ab	4×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	4×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 51 times in total; 7 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

Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×4
Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×4
Db Fm AbIV → vi FmVI → iVI → i ×2
Dbmaj7 Fm7 AbIVmaj7 → vi7 FmVImaj7 → i7VI → i ×2

The move to watch is Bbm7 → Eb, heard 4 times. From the Fm side it is iv7 → VII; from the Ab side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Fm7, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Dbmaj7, land on Db, F, Ab — 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 Fm7, the song gives away its key from the very first bar. Cm7, Fm7, Dbmaj7, Bbm7 carry the song: iii7–vi7–IVmaj7–ii7 relative to Ab, v7–i7–VImaj7–iv7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Eb (ii7 → V in Ab, iv7 → VII in Fm): ii → V — the classic preparation of the dominant. The final chord is Fm7; the ear comes to rest in Fm.

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.