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)
Ferhat Göçer - Götür Beni Gittiğin Yere - Chord
Key Ab major – F minor Chords Cm, C#, Fm, D# Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Ab | Fm
Capo: 0
Cm C# Cm C# Fm D# Aşkındır beni yaşatan, beni hayata bağlayan Fm Cm Atma beni ölümlere, atma beni zulümlere C# Cm Götür beni gittiğin yere Fm Cm Sensiz ben nefes alamam, buralarda hiç duramam C# D# Tek başına yalnız kalamam Cm C# Senin kokunu özledim, hep yollarını gözlerim D# C# Cm Götür beni gittiğin yere Cm C# Cm C# Fm D# Bu aşk böyle bitemez, bırakma terketme beni
End of song Play again?
Ferhat Göçer - Götür Beni Gittiğin Yere Tabs
NotesX
Harmony analysis
Ferhat Göçer – Götür Beni Gittiğin Yere: key and chord analysis
The song opens on Cm and ends on D#. 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 | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 9× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 8× |
| V | D# | Dominant — strongest pull home | D# · G · A# | 4× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 4× |
| 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 | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 9× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 8× |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 4× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 25 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
- C# Fm AbIV → vi FmVI → iVI → i ×2
- C# D# AbIV → VIV → V FmVI → VIIVI → VII ×2
- D# Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
The move to watch is C# → Fm, heard 2 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → 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 C#, land on C#, E#, 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.
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, C#, Fm, D# carry the song: iii–IV–vi–V relative to Ab, v–VI–i–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. The final chord is D#; 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.
Ferhat Göçer - Götür Beni Gittiğin Yere 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.