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)
Gülden Mutlu - Çiçek Gibi - Chord
Key Ab major – F minor Chords Db, Fm, Bbm, Eb Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Db
Soruyor mu beni dünler
Fm
Hatırında mı yaşadığımız o günler
Bbm
Ben seni defterimin bir sayfasına
Eb
Yazdım yazdım, kapattım
Db
Farzet zehirlendin aşktan
Fm
Olsa hatırın yazarım ilacı en baştan
Bbm
Dağ gibi durduğun anları şimdi çağır bakalım
Eb
Gelsin hakkımdan
Db Bbm
Açtım döktüm içimi kitap gibi
Fm
Okudun, bittim sanıyorsun
Bbm Db
Hele bir değsin elim yabancı ele
Fm
Gör bak nasıl kavrulursun
Db Bbm
Sana kalsın o ucuz masal da
Fm
Gündüz anlat, gece ağla
Bbm Db
Bir daha böyle çiçek gibi
Fm
Seveni ahh zor bulursun
End of song Play again?
Gülden Mutlu - Çiçek Gibi Tabs
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Harmony analysis
Gülden Mutlu – Çiçek Gibi: key and chord analysis
The song opens on Db and ends on Fm. 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 comes to rest on Fm and 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 | 6× |
| 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 | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 2× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| 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 | 6× |
| 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 | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 2× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 20 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.
Chord movement
- Db Fm AbIV → vi FmVI → iVI → i ×4
- Bbm Fm Abii → vi Fmiv → iminor plagal ×2
- Bbm Eb Abii → Vii → V Fmiv → VII ×2
The move to watch is Db → Fm, heard 4 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → vi. 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — 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
Starting on Db, the song gives away its key from the very first bar. Db, Fm, Bbm, Eb carry the song: IV–vi–ii–V relative to Ab, VI–i–iv–VII relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. The final chord is Fm; the ear comes to rest in Fm.
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.
Gülden Mutlu - Çiçek Gibi 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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