Gülşen - Ayrılığın Düğünü - Chord

Key F major – D minor Chords Am7, Gm7, Bbmaj7, Dm7, C, Fmaj7, Em7b5 Easy key C (capo 5)

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Capo 0

Dm7  Gm7  C  Fmaj7  Gm7  Am7

Am7         Fmaj7      Dm7  Gm7    Am7
 Her halinle her halimiin gözünden düştün
Fmaj7      Dm7          Gm7       Am7
 Zaten hiç benim olmadın hatta ödünçtün

Dm7        C          Bbmaj7   Am7
Benle seviştin onun yanında uyandın
Gm7         Fmaj7       Em7b5      Dm7
Gerçekler farklıydı sen hep ona inandın
Gm7                   Bbmaj7      Am7
Ben çoktan uyandım aşkım sana günaydın

Am7  Gm7  Bbmaj7  Am7

Dm7  Am7  C      Gm7
Ayrılığınn düğünü bu gece
Bbmaj7  Am7     Gm7   Am7
Hem gidiyor hem ağlıyorum
Bbmaj7  Am7      C      Gm7
Aaaah yine de toz kondurmam sana
Bbmaj7  Am7    Gm7       Am7
Olannnları kadere bağlıyorum

Dm7  Am7  C      Gm7
Ayrılığınn düğünü bu gece
Bbmaj7  Am7     Gm7   Am7
Hem gidiyor hem ağlıyorum
Bbmaj7  Am7      C      Gm7
Aaaah yine de toz kondurmam sana
Bbmaj7  Am7    Gm7       Am7
Olannnları kadere bağlıyorum

Dm7  Am7  C  Gm7  Bbmaj7  Am7  Gm7  Am7

End of song Play again?

Gülşen - Ayrılığın Düğünü Tabs

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Harmony analysis

Gülşen – Ayrılığın Düğünü: key and chord analysis

The song opens on Dm7 and ends on Am7. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it opens on Dm and Dm is heard 8 times against 4 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
Imaj7	Fmaj7	Tonic — home	F · A · C · E	4×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	17×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	23×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	10×
V	C	Dominant — strongest pull home	C · E · G	7×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	8×
viiø7	Em7b5	Leading-tone chord — tension	E · G · Bb · D	1×

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	8×
iiø7	Em7b5	Supertonic — prepares the dominant	E · G · Bb · D	1×
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	4×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	17×
v7	Am7	Minor dominant — soft pull	A · C · E · G	23×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	10×
VII	C	Subtonic — steps back to the tonic	C · E · G	7×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 70 times in total; 7 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

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×4
C Fmaj7 FV → Imaj7authentic cadence DmVII → IIImaj7 ×1
Gm7 C Fii7 → Vii → V Dmiv7 → VII ×1

The move to watch is Am7 → Dm7, heard 4 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bbmaj7, land on Bb, D, 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The opening Dm7 lays a solid floor for everything that follows. Am7, Gm7, Bbmaj7, Dm7 carry the song: iii7–ii7–IVmaj7–vi7 relative to F, v7–iv7–VImaj7–i7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. It closes on Am7, letting the F 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.