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)
Ayla Çelik - Aşık Oldum Giderken - Chord
Key Ab major – F minor Chords Fm, Bbm, Db, Cm, Eb, Ebm, Dbmaj7 Easy key G (capo 1)
No ratings yet
or your user informations
Make it yours
Text size
Key: Ab | Fm
Capo: 0
Fm
Ne çok şey kattın ömrüme
Bbm
Hiçbir şey seninle bir tutulmuyor
Eb
Ben mutlu olmayı senden öğrendim
Db Fm
Senin gibi gidenler unutulmuyor
Db Cm
Bu sevda ancak seninle
Bbm
Sevda olurdu
Cm
Seni tanımak bile
Bbm Fm
Benim için gururdu
Fm
Belki geçti, belki erken
Cm Eb
Ayrılık zor, çok severken
Bbm Db
O gün sana, bir kez daha
Bbm Db Fm Ebm Fm
Aşık oldum giderken
Dbmaj7
Belki geçti, belki erken
Cm Eb
Ayrılık zor, çok severken
Bbm Db
O gün sana, bir kez daha
Bbm Db Fm
Aşık oldum giderken
End of song Play again?
Ayla Çelik - Aşık Oldum Giderken Tabs
NotesX
Harmony analysis
Ayla Çelik – Aşık Oldum Giderken: key and chord analysis
The song opens on Fm 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 both starts and finishes on Fm and Fm is heard 7 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 | 4× |
| 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× |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 1× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 3× |
| v | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 1× |
| 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 | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 7× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 4× |
| 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× |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 1× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 3× |
| vii | Ebm | Chromatic colour chordoutside the key | Eb · Gb · Bb | 1× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 29 times in total; 6 of them sit naturally inside the shared scale. Ebm step outside the scale as colour chords.
Chord movement
- Db Fm AbIV → vi FmVI → iVI → i ×3
- Bbm Fm Abii → vi Fmiv → iminor plagal ×1
- Bbm Eb Abii → Vii → V Fmiv → VII ×1
The move to watch is Db → Fm, heard 3 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 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.
- 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
- 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. Fm, Bbm, Db, Cm carry the song: vi–ii–IV–iii relative to Ab, i–iv–VI–v 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.
Ayla Çelik - Aşık Oldum Giderken 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Hakkı YalçınMusic: Ayla ÇelikArrangement: Serkan Ölçer
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.