Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Yaşar İpek - Aman - Chord
Key Bb major – G minor Chords Dm, Gm, Cm, F, Eb Easy key C
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Key: Bb | Gm
Capo: 0
Gm
Her yerimde yaralar var
F
Daha fazla paramparça olamam
Dm
Yok işte olamam
Eb
Gözlerimde anılar var
Dm
Kalsın bırak başka parça çalamam, çalamam
Gm
Üzerimde baskılar var
F
Duygulardan kaçsam bile duramam
Dm
Yok işte duramam
Eb
Şimdi gidip başka yerde nasıl olur
Dm
Mümkün değil uyumam yok yapamam Allah aşkına
Gm
Her yerimde bir sorun var
Dm
Kaçıp giden gençliğim var aman
Canım çok sıkılıyor aman
Cm
Şöyle gidip boş bir yerde
Dm
Avaz avaz bağırsam mı aman
Her yer yine duman
Gm
Şimdi şöyle bir durum var
Dm
Ben seni çok sevmiştim ya aman
Canım çok sıkılıyor aman
Cm
Geçmiyor ki sanki ben de
Dm
Geçecek de değil gibi aman
Hayat devam falan
Gm
Aman aman aman
Gm Gm Dm Dm Cm Cm Dm Dm
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Yaşar İpek - Aman Tabs
NotesX
Harmony analysis
Yaşar İpek – Aman: key and chord analysis
The song opens on Gm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 7 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 4× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 12× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 2× |
| V | F | Dominant — strongest pull home | F · A · C | 2× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 7× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 7× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 4× |
| v | Dm | Minor dominant — soft pull | D · F · A | 12× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 2× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 2× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 27 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
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
The move to watch is Dm → Gm, heard 4 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. Dm, Gm, Cm, F carry the song: iii–vi–ii–V relative to Bb, v–i–iv–VII relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. It closes on Dm, letting the Bb 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.
Yaşar İpek - Aman 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: Sinan AkçılMusic: Sinan AkçılArrangement: Mustafa Ceceli
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