Göksel - Gittiğinde - Chord

Key Ab major – F minor Chords Fm, Db, Eb, Cm, Bbm Easy key G (capo 1)

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Capo 0

Fm    Cm    Db    Cm    
Bbm   Cm    Db    Eb  

Fm         Db     Fm   Db
Bu yol çıkmaz bu yol 
Fm        Db    Fm   Db
Gönül vazgeçmiyor 
Eb                Db
Dur diyor içimde bir ses 
         Eb      Fm       
Peşinde diğer yarım 

Fm        Db       Fm       Db
Susmasan olmaz mı anlatsan bir kere 
Eb                      Db    Eb     Fm
Önümde kilitli kapılar anahtarları sende 
Fm        Db       Fm        Db
Gitmesen olmaz mı en azından bir gece 
Eb                    Db        Eb     Fm
İçimde bir kara orman yanıyor gittiğinde 

Fm   Db   Fm   Db   Eb             Fm 
aah  aaa  aah  aaa  aah aaa gittiğinde 

Fm            Db   Fm
Bulanık sularında 
          Db      Fm
Takıldım ağlarına 
Eb                 Db
Yüz diyor içimde bir ses 
           Eb     Fm
Yetmiyor kulaçlarım

End of song Play again?

Göksel - Gittiğinde Tabs

NotesX

Harmony analysis

Göksel – Gittiğinde: key and chord analysis

The song opens on Fm and ends on Fm. 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F minor side because it both starts and finishes on Fm and Fm is heard 19 times while Ab never appears. 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	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	1×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	3×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	18×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	10×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	19×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	19×
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	1×
v	Cm	Minor dominant — soft pull	C · Eb · G	3×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	18×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	10×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 51 times in total; 5 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

Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×9
Db Fm AbIV → vi FmVI → iVI → i ×8
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×6

The move to watch is Db → Eb, heard 9 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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

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 backbone is Fm, Db, Eb, Cm — vi–IV–V–iii from the Ab side, i–VI–VII–v from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. The final chord is Fm; the ear comes to rest in Fm.

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.