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)
İlkay Akkaya - Gidemem - Chord
Key Ab major – F minor Chords Cm, Eb, Db, Bbm, Fm, F Easy key C
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Key: Ab | Fm
Capo: 0
Eb Cm F Db Eb Cm Eb
Fm Db Eb Cm Db Bbm Cm
Cm Bbm Fm
Bilemem nereye sürüldüğümü bekleme
Bbm Eb
Belki kaybolup gidecek bu yürek
Db Cm
Karla kaplı yüreğimde hüzne doğan kırçiçeğim
Eb Cm Fm Db Eb Cm Eb
Yandım amman öldüm amman sararıp soldum amman
Fm Db Eb Cm
Kar boran yollar ardında sevdan var
Db Bbm Cm
Seni bırakıp gidemem
Eb Cm F Db Eb Cm Eb
Fm Db Eb Cm Db Bbm Cm
Cm Bbm Fm
Ağlama sil akan gözyaşlarını ağlama
Bbm Eb
Bir de sen tuz basma gülüm yarama
Db Cm
Gitmeler çok zor küçüğüm ortak olur yalnızlığım bana
End of song Play again?
İlkay Akkaya - Gidemem Tabs
NotesX
Harmony analysis
İlkay Akkaya – Gidemem: key and chord analysis
The song opens on Eb 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 Fm is heard 6 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 | 7× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 16× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 11× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 14× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| V/ii | F | Secondary dominant V/ii — leads to Bbmsecondary dominant | F · A · C | 2× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| V/iv | F | Secondary dominant V/iv — leads to Bbmsecondary dominant | F · A · C | 2× |
| 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 | 7× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 16× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 11× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 14× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 56 times in total; 5 of them sit naturally inside the shared scale. F acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×6
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×3
- Bbm Fm Abii → vi Fmiv → iminor plagal ×2
- Bbm Eb Abii → Vii → V Fmiv → VII ×2
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1
The move to watch is Db → Eb, heard 6 times. From the Fm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Ab side it reads IV → V (IV → V: the lift that builds tension before home). 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Db, land on Db, F, Ab — 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
The opening Eb lays a solid floor for everything that follows. The chords that keep coming back are Cm, Eb, Db, Bbm; read them as iii–V–IV–ii in Ab or v–VII–VI–iv in Fm. F adds a moment of surprise: secondary dominant V/ii — leads to Bbm. Keep an ear on Db → Eb (IV → V in Ab, VI → VII in Fm): VI → VII — the rising step that heads for the tonic. It closes on Cm, 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.
İlkay Akkaya - Gidemem 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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