Derya Uluğ - Sana Çıkıyor Yollar - Chord

Key Ab major – F minor Chords Fm, Eb, Db, C7, Bbm Easy key G (capo 1)

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Capo 0

Fm
Hep başa geri dönüyorsan

Nafile beni soruyorsan
   Eb   Db              Fm
Sorma   kendini boşa yorma

Fm
Bak sana kapalı bu yollar

Sanma hep iyi bir son var
   Eb   Db              Fm  Eb
Sanma   boş yere buna kanma

Db                    Eb
 Zaman ödemez kefaretini
                  Db
Sanma siler gidişini
                          Eb
Hiç bir iyi söz dilinde dönen
                   C7
Unutturamaz ihanetini

Fm         Eb     Fm
Öyle bir kader ki bu
           Eb   Fm
Öyle bir ceza bana
            Eb   Bbm
Bin kere vursan  da ölmem ölmem
                Fm
Son bir sözü varsa
             Eb
Hayatın kullarına
            Db
Asla deme asla
          Fm
Dönmem dönmem

Fm
Hep sana çıkıyor bu yollar

İnan kader diye bir şey var

End of song Play again?

Derya Uluğ - Sana Çıkıyor Yollar Tabs

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Harmony analysis

Derya Uluğ – Sana Çıkıyor Yollar: 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)
#7 = E (harmonic-minor leading tone from the V chord)

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, Fm is heard 10 times while Ab never appears and the major V chord points straight at Fm. 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	1×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V7/vi	C7	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G · Bb	1×
IV	Db	Subdominant — moves away from home	Db · F · Ab	5×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	9×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	10×
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	10×
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	1×
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V7	C7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G · Bb	1×
VI	Db	Submediant — warm colour	Db · F · Ab	5×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	9×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 26 times in total; 4 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C7 is V7/vi, a secondary dominant heading for Fm.

Chord movement

Db Fm AbIV → vi FmVI → iVI → i ×3
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×1
Bbm Fm Abii → vi Fmiv → iminor plagal ×1

The move to watch is Db → Fm, heard 3 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
When C7 comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.

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 backbone is Fm, Eb, Db, C7 — vi–V–IV–V7/vi from the Ab side, i–VII–VI–V7 from the Fm side. C7 is the interesting twist: in Ab it is a chromatic chord (V7/vi), while in Fm it becomes the dominant (V7) that makes the minor side sound so determined. 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 Fm; 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.