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)
Musa Eroğlu - Mihriban - Chord
Key Ab major – F minor Chords Ab, Cm, Fm, Eb, Db, Bbm Easy key C
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Key: Ab | Fm
Capo: 0
Ab Fm Fm Eb Db Cm Ab Cm Ab Sarı saçlarına deli gönlümü Cm Bbm Ab Fm Eb Bbm Cm Bağlamışım çözülmüyor Mihriban, Mihriban Cm Ab Fm Eb Ayrılıktan zor belleme ölümü, ölümü Ab Eb Db Cm Görmeyince sezilmiyor Mihriban, Mihriban, Mihriban Ab Fm Fm Eb Db Cm Ab Cm Ab Yâr deyince kalem elden düşüyor Cm Bbm Ab Fm Eb Bbm Cm Gözlerim görmüyor aklım şaşıyor, şaşıyor Cm Ab Fm Eb Lambada titreyen alev üşüyor, üşüyor Ab Eb Db Cm Aşk kâğıda yazılmıyor, Mihriban, Mihriban, Mihriban Ab Fm Fm Eb Db Cm Ab Cm Ab Tabiplerde ilaç yoktur yarama Cm Bbm Ab Fm Eb Bbm Cm Aşk deyince ötesini arama, arama Cm Ab Fm Eb Her nesnenin bir bitimi var ama, var ama Ab Eb Db Cm Aşka hudut çizilmiyor Mihriban, Mihriban, Mihriban
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Musa Eroğlu - Mihriban Tabs
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Harmony analysis
Musa Eroğlu – Mihriban: key and chord analysis
The song opens on Ab and ends on Cm. 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 Ab major side because it opens on Ab and Ab is heard 18 times against 12 for Fm. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 | 18× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 18× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 12× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 12× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 12× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 18× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 18× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 12× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 72 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
- Eb Ab AbV → Iauthentic cadence FmVII → III ×3
The move to watch is Eb → Ab, heard 3 times. From the Ab side it reads V → I (authentic cadence: the strongest arrival home); from the Fm side it is VII → III. 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 Ab, land on Ab, C, Eb — 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.
- Over Fm, land on F, Ab, C — 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 Ab lays a solid floor for everything that follows. The chords that keep coming back are Ab, Cm, Fm, Eb; read them as I–iii–vi–V in Ab or III–v–i–VII in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Ab (V → I in Ab, VII → III in Fm): authentic cadence — the strongest arrival home. Ending on Cm, 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.
Musa Eroğlu - Mihriban 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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