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)
Aleyna Tilki - Hoşuna Gidiyo Zeki Arkun - Chord
Key Ab major – F minor Chords Fm, Dbmaj7, Cm, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Fm Dbmaj7
Yarını görmeden başa sarıyor
Fm
Kalbimi kırıyor suratı bir tek bana asık
Dbmaj7
Her şeyi bir yana seni bana veriyor
Fm
Sonra geri istiyor, hoşuna gidiyor
Fm
Kal orda düşerim zora
Dbmaj7
Hiç olmazsa bi mesaj yolla
Fm Dbmaj7
Her şeyi bi yana seni bana veriyo
Fm
Sonra geri istiyo, hoşuna gidiyo
Cm
Mesafeler uzak bana
Dbmaj7
Nasıl kader kıyar bize
Döner tabi o maziye
Cm
Ne olsa olsun nafile
Bbm Fm
Ne olsa olsun nafile
Cm
Dinle, çıkabiliriz bu savaştan
Gece, gündüzü birbirine katsak
Dbmaj7
Bi gel bak hayatına neşe katçam
Kime güveneceğim belli baştan
End of song Play again?
Aleyna Tilki - Hoşuna Gidiyo Zeki Arkun Tabs
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Harmony analysis
Aleyna Tilki – Hoşuna Gidiyo Zeki Arkun: key and chord analysis
The song opens on Fm and ends on Dbmaj7. 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 opens on Fm and Fm is heard 7 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 | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 1× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 3× |
| 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 | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 7× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 7× |
| 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 | 3× |
| 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 | 6× |
| 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 17 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
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×4
- Bbm Fm Abii → vi Fmiv → iminor plagal ×1
The move to watch is Dbmaj7 → Fm, heard 4 times. From the Fm side it is VImaj7 → i (VI → i: falls a half step into home); from the Ab side it reads IVmaj7 → 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 Dbmaj7, land on Db, F, Ab — 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.
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. The chords that keep coming back are Fm, Dbmaj7, Cm, Bbm; read them as vi–IVmaj7–iii–ii in Ab or i–VImaj7–v–iv in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbmaj7 → Fm (IVmaj7 → vi in Ab, VImaj7 → i in Fm): VI → i — falls a half step into home. The final chord is Dbmaj7; the ear comes to rest in Ab.
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.
Aleyna Tilki - Hoşuna Gidiyo Zeki Arkun 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: Aleyna Tilki, Zeki Arkun, Ateş AtiMusic: Aleyna Tilki, Zeki Arkun, Ateş AtiArrangement: Zeki Arkun
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