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)
Ziynet Sali - Çeyrek Gönül - Chord
Key Ab major – F minor Chords Db, Cm, Bbm, Eb, Fm, F Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Bbm Cm Db F Bbm Cm Db Eb Db Cm Fm Db Mutsuzluğumu al götür Bbm Cm Ben başedemedim hayat Db Cm Bbm Cm Db Kendimi ele verdim Fm Db Sen söyle az mı çektim Bbm Cm Yetmedi mi kesmedi mi Db Cm Db Cm Bu kader kedere hazır ve nazır Bbm Cm Db Hilafsızdır ortaksızdır Bbm Cm Ah be gönül çeyrek gönül Db F Bbm Ah yarıma razı gönül Cm Db Zaman kırsın dizginini Eb Db Cm Sen de biraz gül Bbm Cm Db F Bbm Cm Db Eb Db Cm Fm Db Güvendiyse insan uyur Bbm Cm Sarmaşınca huzur bulur Db Cm Db Cm Db O yüzden güzel o sabahlar Fm Db Uyanınca yalnızsan Bbm Cm İsyan ki çığlık odur Db Cm Db Cm Korkusuzdur sorgusuzdur Bbm Eb Db Yandın işte yangın budur
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Ziynet Sali - Çeyrek Gönül Tabs
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Harmony analysis
Ziynet Sali – Çeyrek Gönül: key and chord analysis
The song opens on Bbm and ends on Db. 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 Fm is heard 4 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 13× |
| 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 | 24× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| V/ii | F | Secondary dominant V/ii — leads to Bbmsecondary dominant | F · A · C | 3× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| V/iv | F | Secondary dominant V/iv — leads to Bbmsecondary dominant | F · A · C | 3× |
| 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 | 13× |
| 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 | 24× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 70 times in total; 5 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×3
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
- Db Fm AbIV → vi FmVI → iVI → i ×2
- Bbm Eb Abii → Vii → V Fmiv → VII ×1
The move to watch is Db → Eb, heard 3 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 Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- 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.
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 first chord is Bbm; the ear learns where home is within a second. The backbone is Db, Cm, Bbm, Eb — IV–iii–ii–V from the Ab side, VI–v–iv–VII from the Fm side. F adds a moment of surprise: secondary dominant V/ii — leads to Bbm. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. It closes on Db, letting the Ab 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.
Ziynet Sali - Çeyrek Gönül 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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