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 - Gelme Üstüme - Chord
Key Ab major – F minor Chords Cm7, Fm, Bbm7, Fm7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm7 Bbm7 Cm7
Fm
Geri gelse girer mi rüyalarıma
Cm7
Kara gözleri parlak o aydan
Bbm7
Severim yine belki uzaktan
Cm7
Lütfen o kalbine kimseyi alma
Fm
Yine derdimi anlattım da
Cm7
Unutursun dediler bi’ kaç ayda
Bbm7
Karaları bağladım ya
Cm7
Yetmedi hiçbir şey etmiyor fayda
Fm7 Cm7
Bitmişim zaten sen de gelme üstüme
Bbm7
Gidişlerin beni üzdü de
Cm7
Gönlüm herkese küstü de
Fm
Daha aşka gücüm yok
Cm7
Geceler omzuma çığ gibi düştü de
Bbm7
İstemem sevinci hüznü de
Cm7
Bir soran olursa öldü de
Fm
Sana başka sözüm yok
End of song Play again?
Mustafa Ceceli - Gelme Üstüme Tabs
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Harmony analysis
Mustafa Ceceli – Gelme Üstüme: 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.
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 6 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 5× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 10× |
| 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 | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 5× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 1× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 5× |
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 1× |
| 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 | 5× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 10× |
| 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 | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 21 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
- Cm7 Fm Abiii7 → vi Fmv7 → inatural-minor cadence ×4
- Cm7 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×1
The move to watch is Cm7 → Fm, heard 4 times. From the Fm side it is v7 → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii7 → 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 Cm7, 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.
- Over Bbm7, land on Bb, Db, F — 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Fm; the ear learns where home is within a second. Cm7, Fm, Bbm7, Fm7 carry the song: iii7–vi–ii7–vi7 relative to Ab, v7–i–iv7–i7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm (iii7 → vi in Ab, v7 → i in Fm): natural-minor cadence — gentle, modal arrival. 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.
Mustafa Ceceli - Gelme Üstüme 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: Hüseyin MehmedoğluMusic: Hüseyin MehmedoğluArrangement: Mustafa Ceceli
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