Model - Makyaj - Chord

Key Ab major – F minor Chords C, Fm, Db, Ab, Bbm, G, Bb Easy key C

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Capo 0

Fm                    C
Çok uğraştım inan unutmak için seni, 
Db                        C
O gün sarıldığımızda söz verdiğim gibi
Fm                      C
Son bir öpücüğü çok görmüştün bana, 
Db                       C          G
Biliyorum, demiştin ben gideceği yeri

Fm     Bbm     Ab    C   

Fm                      C    Db                 C
Bu sabah çok erken kalktım, sevdiğin tatlıdan yaptım 
Fm               C      Db                 C 
Yerken onu tek başıma, sessiz sedasız ağladım. 

Fm                 C      Db                  C
Kalktım bir çay demledim, açtım bir film izledim 
Fm                 C      Db               C
Zaman bir türlü geçmedi, bütün evi temizledim 

Db                           C
Sıkıldım kendimden, aptal mıyım neyim ben? 
Ab                          Bb          C
Neyim var böyle, neden kurtulamıyorum senden? 

Fm                    Bbm
Geçmiyor günler burada senden uzakta, 
Ab                  C
Yığıldı şişeler her gün mutfakta. 
Fm                      Bbm
Tiksindim makyajdan, aynalarımı çöpe attım 
Ab                 C
Durmadan yedim, e biraz kilo aldım!  

Fm             C      Db         C
Affet beni sevgilim, unutamadım seni 
Fm                C      Db             C
Hiç halim yok uyanmaya, sevemem sensiz günleri

End of song Play again?

Model - Makyaj Tabs

NotesX

Harmony analysis

Model – Makyaj: key and chord analysis

The song opens on Fm and ends on C. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 11 times against 4 for Ab 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	4×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	3×
II	Bb	Chromatic colour chordoutside the key	Bb · D · F	1×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	21×
IV	Db	Subdominant — moves away from home	Db · F · Ab	9×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	11×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—
V/iii	G	Secondary dominant V/iii — leads to Cmsecondary dominant	G · B · D	1×

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	11×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
V/v	G	Secondary dominant V/v — leads to Cmsecondary dominant	G · B · D	1×
III	Ab	Relative major — the bright side	Ab · C · Eb	4×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	3×
IV	Bb	Major IV — Dorian / melodic-minor colourmodal colour	Bb · D · F	1×
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	21×
VI	Db	Submediant — warm colour	Db · F · Ab	9×
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). 7 different chords appear 50 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. G acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×9

The move to watch is C → Fm, heard 9 times. From the Fm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V/vi → 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 C, land on C, E, 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.
Over Db, land on Db, F, Ab — 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
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

Starting on Fm, the song gives away its key from the very first bar. The chords that keep coming back are C, Fm, Db, Ab; read them as V/vi–vi–IV–I in Ab or V–i–VI–III 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 C → Fm (V/vi → vi in Ab, V → i in Fm): harmonic-minor cadence — the major V resolves dramatically. The final chord is C; 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.