Yıldız Tilbe - Ayrılamam - Chord

Key Ab major – F minor Chords Cm, Dbmaj7, Eb, Bbm, Fm, Ab, Db Easy key C

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Capo 0

Cm          Dbmaj7
 Kalbim yanaar hasretinle
Cm         Dbmaj7
 Başım döneer hayalinle
Cm         Dbmaj7
 Canım seniin, ruhum senin
Cm            Dbmaj7
 Sensiz ben beeni neyleyim
 
Fm        Dbmaj7
 Unutmadım unutsan da
Eb           Bbm    Cm
 Yaram derin, çok beterim

Cm         Dbmaj7
 Anlatmadım soranlara
Eb         Bbm     Cm
 Seni kendimden gizledim

Cm
 Ayrılamam ellerinden

 Ayrılamam gözlerinden
Ab       Bbm
 Ayrılamam gül yüzünden
Eb   Db      Cm
 Aaaaaatma beni

Cm         Dbmaj7
 Seni bendeen ayırmadım
Cm           Dbmaj7
 Haksızsan daa darılmadım
Cm         Dbmaj7
 Aşkı böylee yaşamadım
Cm         Dbmaj7
 Seninle bana ağladım

Fm        Dbmaj7
 Unutmadım unutsan da
Eb           Bbm    Cm
 Yaram derin, çok beterim

Cm         Dbmaj7
 Anlatmadım soranlara
Eb         Bbm     Cm
 Seni kendimden gizledim

Cm
 Ayrılamam ellerinden

 Ayrılamam gözlerinden
Ab       Bbm
 Ayrılamam gül yüzünden
Eb   Db      Cm
 Aaaaaatma beni

End of song Play again?

Yıldız Tilbe - Ayrılamam Tabs

NotesX

Harmony analysis

Yıldız Tilbe – Ayrılamam: key and chord analysis

The song opens on Cm and ends on Cm. 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: we can't honestly pick a side here — the song moves freely between Ab major and F minor. Try reading the chords both ways and see which feels more like home to you.

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	2×
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	12×
IV	Db	Subdominant — moves away from home	Db · F · Ab	2×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	6×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	2×
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	2×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	2×
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	12×
VI	Db	Submediant — warm colour	Db · F · Ab	2×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	6×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 48 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

Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×4
Dbmaj7 Fm AbIVmaj7 → vi FmVImaj7 → iVI → i ×2
Bbm Eb Abii → Vii → V Fmiv → VII ×2

The move to watch is Dbmaj7 → Eb, heard 4 times. From the Ab side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Fm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Dbmaj7, land on Db, F, Ab — 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.

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. The backbone is Cm, Dbmaj7, Eb, Bbm — iii–IVmaj7–V–ii from the Ab side, v–VImaj7–VII–iv from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dbmaj7 → Eb (IVmaj7 → V in Ab, VImaj7 → VII in Fm): IV → V — the lift that builds tension before home. Ending on Cm, the song seals Ab 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.