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)
Müslüm Gürses - Unutamadım (Kaç Kadeh Kırıldı) - Chord
Key Ab major – F minor Chords Cm, Bbm, Db, Eb, Fm, Ab Easy key C
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Key: Ab | Fm
Capo: 0
Fm Eb Ab Cm Fm Bbm Eb
Fm Db Cm Ab Eb Db Bbm Eb
Cm Db Bbm Cm
Cm Bbm Eb Ab Cm Bbm Bbm Eb
Fm Db Cm Ab Eb Db Bbm Eb
Cm Db Bbm Cm Cm Db Bbm Cm
Fm Cm Ab Eb
Kaç kadeh kırıldı sarhoş gönlümde
Bbm Ab Bbm
Bir türlü kendimi avutamadım
Cm Fm Bbm Eb
Kaç gece ağladım böyle gizlice
Db Bbm Cm
Ne yaptımsa seni unutamadım
Cm Db Bbm Cm
Fm Db Eb
Kim bilir kimler var şimdi kalbinde
Cm Eb Db
Sen beni unuttun çoktan belki de
Bbm Db Eb Db
Ben hala yaşarım eski günlerde
Bbm Db Bbm Cm
Her şeyde sen varsın unutamadım
Fm Cm Ab Eb
Her sevgi zamanla bitermiş derler
Bbm Ab Bbm
Benimki bitmedi anlayamadım
Cm Fm Bbm Eb
Bu aşktan hayır yok unut dediler
Db Bbm Cm
Ne yaptımsa seni unutamadım
Cm Db Bbm Cm
Fm Db Eb
Kim bilir kimler var şimdi kalbinde
Cm Eb Db
Sen beni unuttun çoktan belki de
Bbm Db Eb Db
Ben hala yaşarım eski günlerde
Bbm Db Bbm Cm
Her şeyde sen varsın unutamadım
End of song Play again?
Müslüm Gürses - Unutamadım (Kaç Kadeh Kırıldı) Tabs
/videos/muslum-gurses-unutamadim-kac-kadeh-kirildi-tab.mp4
NotesX
Harmony analysis
Müslüm Gürses – Unutamadım (Kaç Kadeh Kırıldı): key and chord analysis
The song opens on Fm 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 F minor side because it opens on Fm and Fm is heard 10 times against 8 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 | 8× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 25× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 25× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 21× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 18× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 8× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 25× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 25× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 21× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 18× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 107 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 ×7
- Bbm Eb Abii → Vii → V Fmiv → VII ×7
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×4
- Eb Ab AbV → Iauthentic cadence FmVII → III ×2
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
The move to watch is Cm → Fm, heard 7 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 Bbm, land on Bb, Db, F — 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.
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 chords that keep coming back are Cm, Bbm, Db, Eb; read them as iii–ii–IV–V in Ab or v–iv–VI–VII in Fm. 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. 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.
Müslüm Gürses - Unutamadım (Kaç Kadeh Kırıldı) 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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Lyrics: Şakir AskanMusic: Burhan BayarArrangement: Burhan Bayar
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