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)
Can Ozan - Hiç Sorma - Chord
Key Ab major – F minor Chords Dbmaj7, Eb, C, Fm, Cm Easy key C
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Key: Ab | Fm
Capo: 0
Dbmaj7 Eb C Dbmaj7 Eb C
Dbmaj7 Eb C
Gereği var mı artık kederin yasın?
Dbmaj7 Eb C
Geçiyor günler, bu gençliğime yazık
Dbmaj7 Eb C
Gün doğumunda uyanık kalmaya alıştım artık
Dbmaj7 Eb C
Hiç sorma neden hep suratım asık
Dbmaj7 Eb C
Hiç sormaaaaaaaa, hiç sormaa
Fm Cm Dbmaj7
Hiç sorma
Eb Fm Cm Dbmaj7
Alıştım diyemem yalnızlığıma
Eb Fm Eb Dbmaj7
Kendimi vurdum sokaklara geceden sabaha
Eb Fm Cm Dbmaj7
Küskün bir kadeh kaldırdım ah yıllarımaaaa
Fm Cm Dbmaj7
Söz verdim gidemem
Eb Fm Cm Dbmaj7 Eb Dbmaj7 Eb C
Söz verdim gidemeeeeeeeem
Dbmaj7 Eb C
Yarasayım ben uyku bilmem
Dbmaj7 Eb C
Her gece karabasanlarım dinmez
Dbmaj7 Eb C
Her vuruşunda kalbim atar mı bi’ daha bilmem
Dbmaj7 Eb C
Hiç sorma biri gider biri dönmez
Dbmaj7 Eb C
Hiç sormaaaaaaaa, hiç sormaa
Fm Cm Dbmaj7
Hiç sorma
Eb Fm Cm Dbmaj7
Alıştım diyemem yalnızlığıma
Eb Fm Eb Dbmaj7
Kendimi vurdum sokaklara geceden sabaha
Eb Fm Cm Dbmaj7
Küskün bir kadeh kaldırdım ah yıllarımaaaa
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Can Ozan - Hiç Sorma Tabs
NotesX
Harmony analysis
Can Ozan – Hiç Sorma: key and chord analysis
The song opens on Dbmaj7 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)
- #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 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 8× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | 13× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 23× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 23× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| 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 | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 8× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | 13× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 23× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 23× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 77 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 C is V/vi, a secondary dominant heading for Fm.
Chord movement
- Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×21
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×7
- C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×2
- Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×1
The move to watch is Dbmaj7 → Eb, heard 21 times. From the Fm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 Dbmaj7, land on Db, F, Ab — 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- When C 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
- 4 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Dbmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Dbmaj7, Eb, C, Fm; read them as IVmaj7–V–V/vi–vi in Ab or VImaj7–VII–V–i in Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Dbmaj7 → Eb (IVmaj7 → V in Ab, VImaj7 → VII in Fm): VI → VII — the rising step that heads for the tonic. 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.
Can Ozan - Hiç Sorma 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: YGA, Canozan Music: YGAArrangement: YGA, Canozan
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