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)
Gülşen - Dillere Düşeceğiz Seninle - Chord
Key Ab major – F minor Chords Cm, Fm, Bbm, Eb, Db, Ab Easy key C
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Key: Ab | Fm
Capo: 0
Fm Cm Dillere düşeceğiz seninle Fm Cm İlle de biz düşecek Eb Db Bbm Cm Taze bahar dalları gibi çiçeklenecek Fm Cm Tadım tuzum olacaksın benim Fm Cm Tadım tuzum olacak Eb Db Yatağıma gireceksin benim Bbm Cm İlle de sen yatacak Ab Bbm Eb Cm Seni seni en çok seni Db Bbm Cm Fm Bir tek seni severim hani Fm Cm Fm Cm Kör olayım yar, sürünürüm yar Eb Bbm Db Cm Fm Her daim yar billahi Fm Cm Bir gemi alacak bizi buralardan Fm Cm Birdaha dönmeyecek Eb Db Heryere gideceğiz seninle Bbm Cm İllede biz gidecek Fm Cm Uzak yada yakın oluruz bazen Fm Cm Ah ne farkedecek Eb Db Tuz kadar severiz biz hani Bbm Cm Buna kim son verecek Ab Bbm Eb Cm Seni seni en çok seni Db Bbm Cm Fm Bir tek seni severim hani Fm Cm Fm Cm Kör olayım yar, sürünürüm yar Eb Bbm Db Cm Fm Her daim yar billahi
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Gülşen - Dillere Düşeceğiz Seninle Tabs
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Harmony analysis
Gülşen – Dillere Düşeceğiz Seninle: 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.
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 16 times against 2 for Ab. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | 2× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 10× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 22× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 8× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 8× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 16× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 16× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 2× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 10× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 22× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 8× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 8× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 66 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
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×12
- Bbm Eb Abii → Vii → V Fmiv → VII ×2
The move to watch is Cm → Fm, heard 12 times. From the Fm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Ab side it reads iii → 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 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.
- 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
The first chord is Fm; the ear learns where home is within a second. The backbone is Cm, Fm, Bbm, Eb — iii–vi–ii–V from the Ab side, v–i–iv–VII from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Fm (iii → vi in Ab, v → i in Fm): natural-minor cadence — gentle, modal arrival. It closes on Fm, letting the Fm side have the last word.
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.
Gülşen - Dillere Düşeceğiz Seninle 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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