Mary Jane - Mevsim Bahar - Chord

Key Ab major – F minor Chords Fm, Cm, Eb, Db, Ab, Bb Easy key C

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Capo 0

Fm  Db  Cm  Fm  Fm  Db  Cm  Fm
Ab  Eb  Fm  Cm  Fm  Cm  Ab  Eb

Fm                    Db
  İnan bana çok geç değil
Cm                      Fm
Mevsim bahar daha kış değil
                   Db
Bir kez daha dayanamam
Cm                     Fm
Kalbim nasır ama taş değil

Db       Eb       Cm        Fm
Bir deli rüzgar esse bir yerlerden
    Bb          Cm          Fm  Cm 
Savurur mu, götürür mü beni biilmem
Db     Eb     Cm         Fm
O deli aşık mazide kaldı artık
    Bb         Cm     Fm  Cm 
Dönecek mi geriye onu biilmem

Ab        Eb    Fm
Hiç zaman olmaz mı?
     Cm     Fm
Geri gelmez mi?
  Cm          Ab   Eb
Savunmasız duyguuuular

Ab   Eb
Ah o günleri
Fm       Cm     Fm
Bir daha vermez mi?
 Cm         Ab  Eb
Acımasız şu yııllar

End of song Play again?

Mary Jane - Mevsim Bahar Tabs

NotesX

Harmony analysis

Mary Jane – Mevsim Bahar: key and chord analysis

The song opens on Fm and ends on Eb. 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 17 times against 6 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	6×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
V/V	Bb	Secondary dominant V/V — leads to Ebsecondary dominant	Bb · D · F	2×
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	6×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	8×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	17×
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	17×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	6×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	—
IV	Bb	Major IV — Dorian / melodic-minor colourmodal colour	Bb · D · F	2×
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	6×
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). 6 different chords appear 55 times in total; 5 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cm Fm Abiii → vi Fmv → inatural-minor cadence ×11
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×4
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
Eb Ab AbV → Iauthentic cadence FmVII → III ×1

The move to watch is Cm → Fm, heard 11 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → vi. 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 Cm, land on C, Eb, G — 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

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

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. Fm, Cm, Eb, Db carry the song: vi–iii–V–IV relative to Ab, i–v–VII–VI relative to Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. It closes on Eb, 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.

Mary Jane - Mevsim Bahar 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: Feyyaz Kuruş

Music: Feyyaz Kuruş

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