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)
Seha Okuş - Hasretinle Yandı Gönlüm - Chord
Key Ab major – F minor Chords Db, Eb, Fm, Bbm, Cm, Ab Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm
Hasretinle yandı gönlüm
Bbm
Yandı yandı söndü gönlüm
Fm Bbm
Evvel yükseklerden uçtu
Eb Fm
Düze indi şimdi gönlüm
Ab Bbm
Gözlerimde kanlı yaşlar
Eb Ab
Hasretin bağrımda kışlar
Db Cm
Başa geldi olmaz işler
Db Eb Db Cm
Binbir dertle doldu gönlüm
Fm
Gelecektin gelmez oldun
Bbm
Halimi hiç sormaz oldun
Fm Bbm
Yaralarımı sarmaz oldun
Eb Fm
Yokluğunla soldu gönlüm
Ab Bbm
Gözlerimde kanlı yaşlar
Eb Ab
Hasretin bağrımda kışlar
Db Cm
Başa geldi olmaz işler
Db Eb Db Cm
Binbir dertle doldu gönlüm
Fm Bbm
Aramızda karlı dağlar
Eb Ab
Hasretin bağrımı dağlar
Db Cm
Çaresizlik yolu bağlar
Db Eb Db Cm
Yokluğundan öldü gönlüm
End of song Play again?
Seha Okuş - Hasretinle Yandı Gönlüm Tabs
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Harmony analysis
Seha Okuş – Hasretinle Yandı Gönlüm: 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 7 times against 5 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 | 5× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 7× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 6× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 9× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 8× |
| 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 | Ab | Relative major — the bright side | Ab · C · Eb | 5× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 7× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 6× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 9× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 8× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 42 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
- Bbm Eb Abii → Vii → V Fmiv → VII ×5
- Eb Ab AbV → Iauthentic cadence FmVII → III ×3
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×3
- Bbm Fm Abii → vi Fmiv → iminor plagal ×2
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×2
The move to watch is Bbm → Eb, heard 5 times. From the Fm side it is iv → VII; from the Ab side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Eb, land on Eb, G, Bb — 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
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
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 Db, Eb, Fm, Bbm; read them as IV–V–vi–ii in Ab or VI–VII–i–iv in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Eb (ii → V in Ab, iv → VII in Fm): ii → V — the classic preparation of the dominant. Ending on Cm, the song seals Ab as home.
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.
Seha Okuş - Hasretinle Yandı Gönlüm 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: Yalçın TuraMusic: Yalçın Tura
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