Aynur Aydın - Siyah Fırtına - Chord

Key Ab major – F minor Chords Fm, Eb, Bbm, Db, Dm Easy key G (capo 1)

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Capo 0

Bbm  Fm  Eb  Db

      Bana
Çabuk elini ver
       Fm
Kalbim huzurunda
     Eb
Beni sürükle gel
      Db
Siyah fırtına

     Bbm
Bana yakından bak
      Fm
Bütün her yerim aşk
     Eb
Sana teslim oldum
      Db
Götür aşkla yak

Bbm    Fm
Yaklaş korkma
    Eb                 Db
Kaderin var benim ruhumda
Bbm    Fm
Aşktan başka
       Eb            Db
Herşey sahte bu dünyada

      Bbm             Fm
Benim kalbim aşktan toz duman
     Eb               Db
Hadi gel sev çok geç olmadan
   Bbm               Fm
Gözlerin de hapset bir akşam
       Eb              Dm
Beni al götür siyah fırtınam

Bbm   Fm    Eb    Db
La la la la la la la 

Bbm    Fm
Yaklaş korkma
     Eb        Db
Kaderin aşk unutma
Bbm    Fm
Aşktan başka
       Eb            Db
Herşey sahte bu dünyada

      Bbm             Fm
Benim kalbim aşktan toz duman
     Eb               Db
Hadi gel sev çok geç olmadan
   Bbm               Fm
Gözlerin de hapset bir akşam
       Eb              Db
Beni al götür siyah fırtınam

Bbm   Fm    Eb    Db
La la la la la la la 

Bbm        Fm
 Gönlüme aktın ya
Eb           Fm
 Zehirlendim aşkla
        Db
Bir hırsız gözlerin
      Eb
Al götür kalbim senin

      Bbm             Fm
Benim kalbim aşktan toz duman
     Eb               Db
Hadi gel sev çok geç olmadan
   Bbm               Fm
Gözlerin de hapset bir akşam
       Eb              Dm
Beni al götür siyah fırtınam

Bbm   Fm    Eb    Db
La la la la la la la

End of song Play again?

Aynur Aydın - Siyah Fırtına Tabs

NotesX

Harmony analysis

Aynur Aydın – Siyah Fırtına: key and chord analysis

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

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)

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 18 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	16×
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	15×
#iv	Dm	Chromatic colour chordoutside the key	D · F · A	2×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	18×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	18×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	18×
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	16×
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	15×
#vi	Dm	Chromatic colour chordoutside the key	D · F · A	2×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	18×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 69 times in total; 4 of them sit naturally inside the shared scale. Dm step outside the scale as colour chords.

Chord movement

Bbm Fm Abii → vi Fmiv → iminor plagal ×16
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×1
Db Fm AbIV → vi FmVI → iVI → i ×1
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×1

The move to watch is Bbm → Fm, heard 16 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → 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 Eb, land on Eb, G, Bb — 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

The first chord is Bbm; the ear learns where home is within a second. The chords that keep coming back are Fm, Eb, Bbm, Db; read them as vi–V–ii–IV in Ab or i–VII–iv–VI in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. It closes on Db, 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.