Aydilge - Yalnızlık Masalı - Chord

Key Db major – Bb minor Chords Bbm, Ab, Fm, Gb, Ebm, Eb, Db Easy key C (capo 1)

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Capo 0

Bbm              Ab
Bir varmış bir yokmuş diyemem
Fm                Gb         Bbm
Her masalın sonu varmış bilemem

Bbm                 Ab          Ebm
Karadağlar karşımda, kimsem yok ardımda

Ebm             Bbm           Db
Neler umdum ben, nasıl soldum ben
Ab         Fm                    Bbm
 En yakınımdan böyle nasıl koptum ben

Bbm               Ab
Bir varmış bir yokmuş diyemem
Fm                  Gb
Her masalın sonu varmış bilemem
Bbm               Ab
Ben yuvama dönebilsem yeniden
Fm                 Gb
Belki güneş doğacaktır yeniden

Ebm  Bbm  Db  Ab  Fm  Bbm

Eb         Bbm   Eb           Bbm
Ayrılık acısı,   ayrılık sancısı
                  Eb                Bbm
Yüz kere bin kere yağmur gibi göz yaşı
            Ab     Fm        Bbm
Dökemem ben hep içime atarım ben
          Ab       Fm        bm
Ama şimdi belki güneş doğacaktır yeniden

Bbm               Ab
Bir varmış bir yokmuş diyemem
Fm                  Gb
Her masalın sonu varmış bilemem
Bbm               Ab
Ben yuvama dönebilsem yeniden
Fm                 Gb
Belki güneş doğacaktır yeniden

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Aydilge - Yalnızlık Masalı Tabs

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Harmony analysis

Aydilge – Yalnızlık Masalı: key and chord analysis

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

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 15 times against 2 for Db. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	2×
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	3×
V/V	Eb	Secondary dominant V/V — leads to Absecondary dominant	Eb · G · Bb	3×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	8×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	5×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	9×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	15×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	15×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	2×
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	3×
IV	Eb	Major IV — Dorian / melodic-minor colourmodal colour	Eb · G · Bb	3×
v	Fm	Minor dominant — soft pull	F · Ab · C	8×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	5×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	9×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 7 different chords appear 45 times in total; 6 of them sit naturally inside the shared scale. Eb acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Gb Bbm DbIV → vi BbmVI → iVI → i ×3
Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×3
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2

The move to watch is Gb → Bbm, heard 3 times. From the Bbm side it is VI → i (VI → i: falls a half step into home); from the Db side it reads IV → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — 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.
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 Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

1 semitone down · capo 1 keeps the original pitch
6 semitones up · capo 6 keeps the original pitch

The song's harmonic story

The opening Bbm lays a solid floor for everything that follows. The chords that keep coming back are Bbm, Ab, Fm, Gb; read them as vi–V–iii–IV in Db or i–VII–v–VI in Bbm. Eb adds a moment of surprise: secondary dominant V/V — leads to Ab. Keep an ear on Gb → Bbm (IV → vi in Db, VI → i in Bbm): VI → i — falls a half step into home. It closes on Gb, letting the Db 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.