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)
Key Ab major – F minor Chords D#, C#, G#, Fm Easy key G (capo 1)
G# D# C# D# Kimse bilmez neden böylesin diye, kimse sormaz neden sustun niye G# D# C# D# Niye döndün sırtını herkese, ne olacak senin bu halin böyle G# D# C# D# Geçmez günler, unut kendini, bu hayat zor, var mı çaresi G# D# C# D# Boşver geçsin, rüzgarlar essin, sana da bütün insanlar gibi C# D# C# D# Sana da bütün insanlar gibi, sana da bütün insanlar gibi C# Fm D# G# Günlerin kötü geçiyor, umudun yok, soranın yok C# Fm D# G# Sorunun çok, isteğin yok, gelenin yok, yorgunsun çok C# Fm D# G# Karışık kafan, unut herşeyi, sorgulama, boşalt içini C# Fm D# C# D# Uyan artık, geriye bakma, hayat kısa, durma orada G# D# C# D# Geçmez günler, unut kendini, bu hayat zor, var mı çaresi G# D# C# D# Zaman aksın, hızına bakma, seni dinlemez nasıl olsa G# D# C# D# Bırak aksın, seni de götürsün, hepsi hepsi hayat nasıl olsa C# D# C# D# Hepsi hepsi hayat nasıl olsa, hepsi hepsi hayat nasıl olsa Fm D# C# G# D# Doğan güneş seni çağırır, gidemezsin ayakların bağlıdır Fm D# C# G# D# Bilemezsin yarın ne olur, göremezsin gözlerin kapanır Fm D# G# D# C# G# D# C# Çözemezsin sorunlarını, öylece kalırsın, öylece kalırsın
End of song Play again?
Harmony analysis
The song opens on G# and ends on C#. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
Which side does the ear lean to?
Our reading: to us the song feels closer to the Ab major side because it opens on Ab and Ab is heard 14 times against 7 for Fm. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 | G# | Tonic — home | G# · B# · D# | 14× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | C# | Subdominant — moves away from home | C# · E# · G# | 20× |
| V | D# | Dominant — strongest pull home | D# · G · A# | 30× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 7× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 7× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | G# | Relative major — the bright side | G# · B# · D# | 14× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | C# | Submediant — warm colour | C# · E# · G# | 20× |
| VII | D# | Subtonic — steps back to the tonic | D# · G · A# | 30× |
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 71 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.
The move to watch is C# → D#, heard 12 times. From the Ab side it reads IV → V (IV → V: the lift that builds tension before home); from the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Empty slices are chords the song doesn't use.
The first chord is G#; the ear learns where home is within a second. The chords that keep coming back are D#, C#, G#, Fm; read them as V–IV–I–vi in Ab or VII–VI–III–i in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C# → D# (IV → V in Ab, VI → VII in Fm): IV → V — the lift that builds tension before home. It closes on C#, 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.
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.
Ready-made lists by difficulty and mood.
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