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)
Ferhat Göçer - Vefası Eksik Yarim - Chord
Key Ab major – F minor Chords Cm7, Bbm7, Dbmaj7, Abmaj7, Fm7, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Cm7 Bbm7 Dbmaj7 Bbm7 Cm7 Tepeden tırnağa aşıııııığım sana Abmaj7 Bbm7 Dbmaj7 Bbm7 Cm7 Ne ilk kez ne de son söyleeeedim sana Fm7 Cm7 Dbmaj7 Bbm7 Kimse kimseyi sevmek zorunda değil Cm7 Fm7 Bbm7 Eb Dbmaj7 Bbm7 Cm7 Ama sen hiç korkma aşk önüüüümmde eğil Cm7 Gel benim vefası eksik yarim Dbmaj7 Cm7 Ben sensiz durur muyum Bbm7 Dbmaj7 Sen beni bir çağır gönülden Cm7 Bbm7 Cm7 Hiç ben gelmez olur muyum Cm7 Bbm7 Dbmaj7 Bbm7 Cm7 Varsın bir ümit kalmaaaasın bize Abmaj7 Bbm7 Dbmaj7 Bbm7 Cm7 Hüznün kalbime sığmaaaasa bile Cm7 Gel benim vefası eksik yarim Dbmaj7 Cm7 Ben sensiz durur muyum Bbm7 Dbmaj7 Sen beni bir çağır gönülden Cm7 Bbm7 Cm7 Hiç ben gelmez olur muyum
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Ferhat Göçer - Vefası Eksik Yarim Tabs
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Harmony analysis
Ferhat Göçer – Vefası Eksik Yarim: key and chord analysis
The song opens on Cm7 and ends on Cm7. 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.
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 |
|---|---|---|---|---|
| Imaj7 | Abmaj7 | Tonic — home | Ab · C · Eb · G | 2× |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 15× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 17× |
| 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 | 10× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 1× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 2× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 2× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| IIImaj7 | Abmaj7 | Relative major — the bright side | Ab · C · Eb · G | 2× |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 15× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 17× |
| 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 | 10× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 47 times in total; 6 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 Fm7 Abiii7 → vi7 Fmv7 → i7natural-minor cadence ×2
- Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×1
The move to watch is Cm7 → Fm7, heard 2 times. From the Ab side it reads iii7 → vi7; from the Fm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival). 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 Bbm7, 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.
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 first chord is Cm7; the ear learns where home is within a second. Cm7, Bbm7, Dbmaj7, Abmaj7 carry the song: iii7–ii7–IVmaj7–Imaj7 relative to Ab, v7–iv7–VImaj7–IIImaj7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm7 → Fm7 (iii7 → vi7 in Ab, v7 → i7 in Fm): natural-minor cadence — gentle, modal arrival. The final chord is Cm7; 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.
Ferhat Göçer - Vefası Eksik Yarim 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: Sinan AkçılMusic: Sinan AkçılArrangement: Sinan Akçıl & Ozan Doğulu
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