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)
Neşet Ertaş - Gönül Dağı - Chord
Key Ab major – F minor Chords Cm, Db, Bbm, Eb Easy key C
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Key: Ab | Fm
Capo: 0
Cm Db Cm Db Gönül dağı yağmur yağmur boran olunca Cm Db Cm Db Akar can özümde sel gizli gizli Cm Db Cm Db Bir tenhada can cananı bulunca Cm Db Cm Bbm Cm Sinemi yaralar yar oy yar oy yar oy yar oy yar oy yar oy Eb Bbm Cm Dil gizli gizli dil gizli gizli Cm Db Cm Bbm Cm Sinemi yaralar yar oy yar oy yar oy yar oy yar oy yar oy Eb Bbm Cm Dil gizli gizli dil gizli gizli Cm Db Cm Db Dost elinden gel olmazsa varılmaz Cm Db Cm Db Rızasız bahçenin gülü derilmez Cm Db Cm Db Kalpten kalbe bir yol vardır görülmez Cm Db Cm Bbm Cm Gönülden gönüle gider yar oy yar oy yar oy yar oy yar oy Eb Bbm Cm Yol gizli gizli yol gizli gizli Cm Db Cm Bbm Cm Gönülden gönüle gider yar oy yar oy yar oy yar oy yar oy Eb Bbm Cm Yol gizli gizli yol gizli gizli Cm Db Cm Db Seher vakti garip garip bülbül öterken Cm Db Cm Db Kirpiklerin o kok yar yar cana batarken Cm Db Cm Db Cümle alem uykusunda yatarken Cm Db Cm Bbm Cm Kimseler görmeden yar oy yar oy yar oy yar oy yar oy Eb Bbm Cm Gel gizli gizli gel gizli gizli Cm Db Cm Bbm Cm Hoyratlar görmeden yar oy yar oy yar oy yar oy yar oy Eb Bbm Cm Gel gizli gizli gel gizli gizli
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Neşet Ertaş - Gönül Dağı Tabs
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Harmony analysis
Neşet Ertaş – Gönül Dağı: key and chord analysis
The song opens on Cm 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: 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 |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 12× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 42× |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 24× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 6× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| 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 | 12× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 42× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 24× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 84 times in total; 4 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
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Cm, land on C, Eb, G — 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.
- Over Bbm, land on Bb, Db, F — 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
Starting on Cm, the song gives away its key from the very first bar. Cm, Db, Bbm, Eb carry the song: iii–IV–ii–V relative to Ab, v–VI–iv–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Cm; 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.
Neşet Ertaş - Gönül Dağı 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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