Gökçe - Vay Be Ben Neymişim - Chord

Key Ab major – F minor Chords Eb, Fm, Ab, Db, Bb Easy key G (capo 1)

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Capo 0

Fm   Bb   Eb   Eb

Ab                            Eb
Kim görmüş kim sevmiş benim kadar
                                        Ab
Mucize aşklar yaşarım kim ölmüş benim kadar

Fm
Şarabı şişeden içmişim
Db
Balı peteğinden yemişim
Eb
Her gün şarkı söylemişim
Ab
Bunu bir ben bilmişim

    Fm       Eb           Db    Eb
Vay be ben neymişim, vay be ben neymişim
    Fm      Eb            Db    Eb
Vay be ben neymişim, vay be ben neymişim
    Fm   Eb   Fm
Vay be

Fm   Bb   Eb   Eb

Ab                          Eb
Hiç kimse hiç kimse benim kadar
                                         Ab
Tanıyamaz asla seni sen kendinde buldun beni

End of song Play again?

Gökçe - Vay Be Ben Neymişim Tabs

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Harmony analysis

Gökçe – Vay Be Ben Neymişim: key and chord analysis

The song opens on Fm and ends on Ab. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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: we can't honestly pick a side here — the song moves freely between Ab major and F minor because it comes to rest on Ab, it opens on Fm and Fm is heard 7 times against 5 for Ab. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	5×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
V/V	Bb	Secondary dominant V/V — leads to Ebsecondary dominant	Bb · D · F	2×
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	Db	Subdominant — moves away from home	Db · F · Ab	3×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	12×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	7×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
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	—
IV	Bb	Major IV — Dorian / melodic-minor colourmodal colour	Bb · D · F	2×
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	Db	Submediant — warm colour	Db · F · Ab	3×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	12×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 29 times in total; 4 of them sit naturally inside the shared scale. Bb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Eb Ab AbV → Iauthentic cadence FmVII → III ×5
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×3
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×3

The move to watch is Eb → Ab, heard 5 times. From the Ab side it reads V → I (authentic cadence: the strongest arrival home); from the Fm side it is VII → III. 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 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.
Over Ab, land on Ab, C, Eb — 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 backbone is Eb, Fm, Ab, Db — V–vi–I–IV from the Ab side, VII–i–III–VI from the Fm side. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Eb → Ab (V → I in Ab, VII → III in Fm): authentic cadence — the strongest arrival home. Ending on Ab, 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.