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)
Sibel Can - Efil Efil - Chord
Key Ab major – F minor Chords Fm, Bbm, Dbmaj7, C7 Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Bbm Sonuna kadar hiç ayrılma n’olur benden Dbmaj7 C7 Çekip al deli gönlüm zaten bir cehennem Fm Bbm Dayanıp sırt sırta geçtik zor günlerden Dbmaj7 C7 Kül olur tüm dertler bir gülümsesen Fm Bbm Sen es efil efil, hep bak yeşil yeşil Dbmaj7 C7 Etme esir beni yokluğuna Fm Bbm Sensiz geceleri, sorma zehir gibi Dbmaj7 C7 Etme pişman beni doğduğuma Fm Bbm Düşünmedim senden ayrı bi saniye tek bir an Dbmaj7 C7 Tut ellerimden bir gün olsa da şu saçlarım kar beyaz Fm Bbm Hüzün verir bi damla yaş düşünce o yanaklarından Dbmaj7 C7 Ben her sabah seni görünce şükür dedim tanrıma Fm Bbm Ah, seni sevdim her nedenle Dbmaj7 Aldırmam git desende C7 Oldukça can bedende Fm Bbm Ah, biliyorsun sende bence Dbmaj7 Giriyorsun kalbe kalbe C7 Bi dokundun kaldı tende Fm Bbm Sen es efil efil, hep bak yeşil yeşil Dbmaj7 C7 Etme esir beni yokluğuna Fm Bbm Sensiz geceleri, sorma zehir gibi Dbmaj7 C7 Etme pişman beni doğduğuma Fm Bbm Dbmaj7 C7 Ah... Fm Bbm Sen es efil efil, hep bak yeşil yeşil Dbmaj7 C7 Etme esir beni yokluğuna Fm Bbm Sensiz geceleri, sorma zehir gibi Dbmaj7 C7 Etme pişman beni doğduğuma
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Sibel Can - Efil Efil Tabs
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Harmony analysis
Sibel Can – Efil Efil: key and chord analysis
The song opens on Fm and ends on C7. 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 it opens on Fm, Fm is heard 13 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 | 13× |
| 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 | 13× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 13× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 13× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 13× |
| 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 | 13× |
| 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 | 13× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 13× |
| 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 52 times in total; 3 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
- C7 Fm AbV7/vi → visecondary resolution FmV7 → iharmonic-minor cadence ×12
The move to watch is C7 → Fm, heard 12 times. From the Fm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V7/vi → vi (secondary resolution: C7 resolves a fourth up to Fm). 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 Bbm, land on Bb, Db, F — 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.
- 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
The opening Fm lays a solid floor for everything that follows. The chords that keep coming back are Fm, Bbm, Dbmaj7, C7; read them as vi–ii–IVmaj7–V7/vi in Ab or i–iv–VImaj7–V7 in Fm. 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 C7 → Fm (V7/vi → vi in Ab, V7 → i in Fm): harmonic-minor cadence — the major V resolves dramatically. Ending on C7, the song seals Ab as home.
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.
Sibel Can - Efil Efil 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: Emrah KarakuyuMusic: Emrah Karakuyu
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