Major view
Eb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = D (leading tone, pulls home)
- 4 = Ab (the note that leans on the 3rd)
Füsun Önal - Ah Nerede Vah Nerede - Chord
Key Eb major – C minor Chords Fm, G, Cm, Eb, Ab, Bb, F#m Easy key C (capo 3)
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Key: Eb | Cm
Capo: 0
Fm G Cm Fm G Cm Nerde bıraktım kalbimi bilmem, ah nerede vah nerede Fm G Cm Fm G Cm Nerde unuttum kalbimi acaba, ah nerede vah nerede Fm G Cm Bir bulabilsem ah nerede Fm G Cm Fm G Cm Ne olurdu yerinde duraydı, faha dün kalbim şuradaydı Fm G Cm Fm G Cm Nerde unuttum kalbimi acaba, ah nerede vah nerede Fm G Cm Bir bulabilsem ah nerede Eb Ab Eb Bb Taşıdım hamal gibi ben kalbimi bunca sene Eb Ab Eb Bb Tam ona muhtaç olunca çekmiş gitmiş nerede Eb Ab Eb Bb Taşıdım hamal gibi ben kalbimi bunca sene Eb Ab Eb Fm Tam ona muhtaç olunca çekmiş gitmiş nerede G F#m Fm Nerede Fm G Cm Fm G Cm Ah nerede vah nerede, kimde unuttum kalbimi acaba Fm G Cm Fm G Cm Ah nerede vah nerede, bir bilen olsa ah nerede Cm Eb Cm Eb Fm G Cm Fm G Cm Kimde unuttum kalbimi bilmem, ah nerede vah nerede Fm G Cm Fm G Cm Kimlere sorsam nerelere baksam, ah nerede vah nerede Fm G Cm Bir gören olsa ah nerede Fm G Cm Fm G Cm Sevgilim al kalbimi derken, bir de baktım yok ki yerinde Fm G Cm Fm G Cm Ah nerede vah nerede, bir bilen olsa ah nerede Fm G Cm Fm G Cm Kimse bulan kimse alan, alsa götürse ah beni de Eb Ab Eb Bb Taşıdım hamal gibi ben kalbimi bunca sene Eb Ab Eb Bb Tam ona muhtaç olunca çekmiş gitmiş nerede Eb Ab Eb Bb Taşıdım hamal gibi ben kalbimi bunca sene Eb Ab Eb Fm Tam ona muhtaç olunca çekmiş gitmiş nerede G F#m Fm Nerede Fm G Cm Fm G Cm Ah nerede vah nerede, nereye de koydum kalbimi acaba Fm G Cm Fm G Cm Ah nerede vah nerede, bir bilebilsem ah nerede Fm G Cm Fm G Cm Ah nerede vah nerede, kimlere sorsam nerelere baksam Fm G Cm Fm G Cm Ah nerede vah nerede, bir gören olsa ah nerede Fm G Cm Fm G Cm Ah nerede vah nerede, bir bilen olsa ah nerede Fm G Cm Fm G Cm Kimse bulan kimse alan, alsa götürse ah beni de
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Füsun Önal - Ah Nerede Vah Nerede Tabs
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Harmony analysis
Füsun Önal – Ah Nerede Vah Nerede: key and chord analysis
The song opens on Fm and ends on Cm. Its chords belong to both Eb major and Cm, so every chord below is read both ways.
Minor view
C minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Ab (the minor's melancholy)
- b7 = Bb (natural-minor colour)
- #7 = B (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the C minor side because it comes to rest on Cm, Cm is heard 39 times against 18 for Eb and the major V chord points straight at Cm. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 | Eb | Tonic — home | Eb · G · Bb | 18× |
| ii | Fm | Supertonic — prepares the dominant | F · Ab · C | 41× |
| biii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
| iii | Gm | Mediant — a tonic-family shade | G · Bb · D | — |
| V/vi | G | Secondary dominant V/vi — leads to Cmsecondary dominant | G · B · D | 39× |
| IV | Ab | Subdominant — moves away from home | Ab · C · Eb | 8× |
| V | Bb | Dominant — strongest pull home | Bb · D · F | 6× |
| vi | Cm | Relative minor — the melancholy side | C · Eb · G | 39× |
| vii° | Ddim | Leading-tone chord — tension | D · F · Ab | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Cm | Tonic — home | C · Eb · G | 39× |
| ii° | Ddim | Supertonic — prepares the dominant | D · F · Ab | — |
| III | Eb | Relative major — the bright side | Eb · G · Bb | 18× |
| iv | Fm | Subdominant — moves away from home | F · Ab · C | 41× |
| #iv | F#m | Chromatic colour chordoutside the key | F# · A · C# | 2× |
| v | Gm | Minor dominant — soft pull | G · Bb · D | — |
| V | G | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | G · B · D | 39× |
| VI | Ab | Submediant — warm colour | Ab · C · Eb | 8× |
| VII | Bb | Subtonic — steps back to the tonic | Bb · D · F | 6× |
Analysis
The key pair is Eb major and its relative C minor (3 flats). 7 different chords appear 153 times in total; 5 of them sit naturally inside the shared scale. The major V of Cm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Eb, the same G is V/vi, a secondary dominant heading for Cm. F#m step outside the scale as colour chords.
Chord movement
- Fm G Ebii → V/vi Cmiv → Viv → V ×39
- G Cm EbV/vi → vi CmV → iharmonic-minor cadence ×37
- Ab Eb EbIV → Iplagal cadence CmVI → III ×8
- Bb Eb EbV → Iauthentic cadence CmVII → III ×6
The move to watch is Fm → G, heard 39 times. From the Cm side it is iv → V (iv → V: the minor side's tension builder); from the Eb side it reads ii → V/vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
- Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — 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.
- When G comes, swap the scale's Bb for B: that single note is the harmonic-minor sound of the chord.
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 Eb major shapes
- Capo 1 + D shapes
- Capo 3 + C shapes
- Capo 6 + A shapes
With C minor shapes
- Capo 3 + Am shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The backbone is Fm, G, Cm, Eb — ii–V/vi–vi–I from the Eb side, iv–V–i–III from the Cm side. G is the interesting twist: in Eb it is a chromatic chord (V/vi), while in Cm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Fm → G (ii → V/vi in Eb, iv → V in Cm): iv → V — the minor side's tension builder. It closes on Cm, letting the Cm 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.
Füsun Önal - Ah Nerede Vah Nerede 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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