Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
İlhan Şeşen - Ayrılık Üstüne - Chord
Key A major – F# minor Chords E7, A, F#m, Bm7, D Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
Bm7 E7 A F#m Bm7 E7 A F#m
A F#m Bm7 E7
Birazdan hava kararacak gitarımı alacağım
A F#m Bm7 E7
Ayrılıklar üstüne bir şarkı çalacağım
Bm7 E7 A F#m
Ayrılık üstüne, ayrılık üstüne
A F#m
Yine içim daralacak
Bm7 E7
Dışarıya çıkacağım
A F#m Bm7 E7
İstanbul sokaklarında voltalar atacağım
Bm7 E7 A F#m
Ayrılık üstüne, ayrılık üstüne
D E7 A F#m
Sen gittiğinden beri şarkılar yangın yeri
Bm7 E7 A F#m
Hangi şarkıyı çalsa ayrılıklar üstüne
D E7 A F#m
Sen gittiğinden beri sokaklar gurbet yeri
Bm7 E7 A F#m
Hangi sokağa sapsam ayrılıklar üstüne
Bm7 E7 A F#m
Ayrılık üstüne, ayrılık üstüne
A F#m Bm7 E7
Güneşin her batışına şiirler yazmak mümkün
A F#m Bm7 E7
Denize akışına sadece bakmak mümkün
A F#m Bm7 E7
Yazmak mı yaşamak mı hangisi daha mümkün
Bm7 E7 A F#m
Ayrılık üstüne, ayrılık üstüne
D E7 A F#m
Sen gittiğinden beri şarkılar yangın yeri
Bm7 E7 A F#m
Hangi şarkıyı çalsa ayrılıklar üstüne
D E7 A F#m
Sen gittiğinden beri sokaklar gurbet yeri
Bm7 E7 A F#m
Hangi sokağa sapsam ayrılıklar üstüne
Bm7 E7 A F#m
Ayrılık üstüne, ayrılık üstüne
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İlhan Şeşen - Ayrılık Üstüne Tabs
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Harmony analysis
İlhan Şeşen – Ayrılık Üstüne: key and chord analysis
The song opens on Bm7 and ends on F#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (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 F#m. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | 22× |
| ii7 | Bm7 | Supertonic — prepares the dominant | B · D · F# · A | 18× |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | 4× |
| V7 | E7 | Dominant — strongest pull home | E · G# · B · D | 22× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 22× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 22× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 22× |
| iv7 | Bm7 | Subdominant — moves away from home | B · D · F# · A | 18× |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | 4× |
| VII7 | E7 | Subtonic — steps back to the tonic | E · G# · B · D | 22× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 5 different chords appear 88 times in total; 5 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
- E7 A AV7 → Iauthentic cadence F#mVII7 → III ×19
- Bm7 E7 Aii7 → V7ii → V F#miv7 → VII7 ×18
- D E7 AIV → V7IV → V F#mVI → VII7VI → VII ×4
The move to watch is E7 → A, heard 19 times. From the F#m side it is VII7 → III; from the A side it reads V7 → I (authentic cadence: the strongest arrival home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over E7, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, 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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The opening Bm7 lays a solid floor for everything that follows. The chords that keep coming back are E7, A, F#m, Bm7; read them as V7–I–vi–ii7 in A or VII7–III–i–iv7 in F#m. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on E7 → A (V7 → I in A, VII7 → III in F#m): authentic cadence — the strongest arrival home. Ending on F#m, the song seals F#m 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.
İlhan Şeşen - Ayrılık Üstüne 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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Lyrics: İlhan ŞeşenMusic: İlhan Şeşen
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