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)
Xece Herdem - Bundan Öte Ayrılık Var - Chord
Key Ab major – F minor Chords Cm, Abmaj7, Fm, Bbm, Dbmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Cm Fm Cm Abmaj7 Cm Bbm Dbmaj7 Abmaj7 Cm Fm Gönlümdeki yarayla bıraktın beni baş başa Cm Abmaj7 Mutlu musun sevgili yar Cm Bbm Daha Yetmezmiş gibi tuzu Bastın yarama Dbmaj7 Abmaj7 Ah be canın sağolsun yar Cm Fm Bundan böyle yol yok kollarım çürüdü Cm Abmaj7 Bundan öte karanlıklar Cm Bbm Sen beni anlamadın gözünü kan bürümüş Dbmaj7 Abmaj7 Bundan öte ayrılık var Cm Fm Cm Abmaj7 Cm Bbm Dbmaj7 Abmaj7 Cm Fm Yüreğimi kapladı inceden bir sızı Cm Abmaj7 Belki de ayrılık acısı Cm Bbm Kaldıracak gücüm yok başımda belası çok Dbmaj7 Abmaj7 Bu derdimin dermanı yok Cm Fm Bundan böyle yol yok kollarım çürüdü Cm Abmaj7 Bundan öte karanlıklar Cm Bbm Sen beni anlamadın gözünü kan bürümüş Dbmaj7 Abmaj7 Bundan öte ayrılık var
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Xece Herdem - Bundan Öte Ayrılık Var Tabs
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Harmony analysis
Xece Herdem – Bundan Öte Ayrılık Var: key and chord analysis
The song opens on Cm and ends on Abmaj7. 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 Ab major side because it comes to rest on Ab and Ab is heard 12 times against 6 for Fm. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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 |
|---|---|---|---|---|
| Imaj7 | Abmaj7 | Tonic — home | Ab · C · Eb · G | 12× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 6× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 18× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | — |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 6× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 6× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| IIImaj7 | Abmaj7 | Relative major — the bright side | Ab · C · Eb · G | 12× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 6× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 18× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | — |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 48 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
- Dbmaj7 Abmaj7 AbIVmaj7 → Imaj7plagal cadence FmVImaj7 → IIImaj7 ×6
- Cm Fm Abiii → vi Fmv → inatural-minor cadence ×6
The move to watch is Dbmaj7 → Abmaj7, heard 6 times. From the Ab side it reads IVmaj7 → Imaj7 (plagal cadence: the soft 'amen' ending); from the Fm side it is VImaj7 → IIImaj7. 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Abmaj7, 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 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
- 4 semitones up
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The opening Cm lays a solid floor for everything that follows. Cm, Abmaj7, Fm, Bbm carry the song: iii–Imaj7–vi–ii relative to Ab, v–IIImaj7–i–iv relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbmaj7 → Abmaj7 (IVmaj7 → Imaj7 in Ab, VImaj7 → IIImaj7 in Fm): plagal cadence — the soft 'amen' ending. The final chord is Abmaj7; the ear comes to rest in Ab.
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.
Xece Herdem - Bundan Öte Ayrılık Var 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: Ersin GünerMusic: Ahmet Kaya
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