Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Hülya Avşar - Yapma Aşkım - Chord
Key Gb major – Eb minor Chords Db, Ebm, B, Gb, Bbm Easy key G
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Key: Gb | D#m | Ebm
Capo: 0
Ebm
Vurdun gittin kör kurşun
Db
Adınmış serseri
Ebm
Dayanmak çok zormuş
Db
Hasret denen şu illetin
Ebm
Sayılı gün çabuk geçer
Db
Sakın unutma beni
B
Tabii içinde varsa
Bbm
Aşkın asaleti
Gb
Aşkın asaleti
Ebm Db
Yapma aşkım, ikimizde biteriz
B
Bi yalancıya düşeriz
Db
Boşa geçene ömür deriz
Sakın yapma
Ebm Db
Yapma aşkım, ikimizde biteriz
B
Bi yalancıya düşeriz
Db
Boşa geçene ömür deriz, sakın yapma
Ebm
Bekler durur seni
Db
Bu aşka aşık gariban
Ebm
Sesi çıkmaz karşısında
Db
Hakim kalem kıran
Ebm
Gün gelir döner elbet
Db
Ahı ah bu devran
B
O zaman tecelli eder
Gb
Aşkın adaleti
Ebm Db
Yapma aşkım, ikimizde biteriz
B
Bi yalancıya düşeriz
Db
Boşa geçene ömür deriz
Sakın yapma
Ebm Db
Yapma aşkım, ikimizde biteriz
B
Bi yalancıya düşeriz
Db
Boşa geçene ömür deriz, sakın yapma
End of song Play again?
Hülya Avşar - Yapma Aşkım Tabs
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Harmony analysis
Hülya Avşar – Yapma Aşkım: key and chord analysis
The song opens on Ebm and ends on Db. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because it opens on Ebm and Ebm is heard 10 times against 2 for Gb. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 | Gb | Tonic — home | Gb · Bb · Db | 2× |
| ii | Abm | Supertonic — prepares the dominant | Ab · Cb · Eb | — |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 1× |
| V/vi | Bb | Secondary dominant V/vi — leads to Ebmsecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 6× |
| V | Db | Dominant — strongest pull home | Db · F · Ab | 14× |
| vi | Ebm | Relative minor — the melancholy side | Eb · Gb · Bb | 10× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Ebm | Tonic — home | Eb · Gb · Bb | 10× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | 2× |
| iv | Abm | Subdominant — moves away from home | Ab · Cb · Eb | — |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 1× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 6× |
| VII | Db | Subtonic — steps back to the tonic | Db · F · Ab | 14× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 33 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
- Db Ebm GbV → videceptive cadence EbmVII → iAeolian arrival ×7
- B Db GbIV → VIV → V EbmVI → VIIVI → VII ×4
- B Gb GbIV → Iplagal cadence EbmVI → III ×1
The move to watch is Db → Ebm, heard 7 times. From the Ebm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Gb side it reads V → vi (deceptive cadence: expected Gb, lands on Ebm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- Over Ebm, land on Eb, Gb, Bb — the chord's own tones always sound right on strong beats.
- Over B, land on B, 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 1 semitone up
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Ebm, the song gives away its key from the very first bar. Db, Ebm, B, Gb carry the song: V–vi–IV–I relative to Gb, VII–i–VI–III relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Ebm (V → vi in Gb, VII → i in Ebm): Aeolian arrival — rises a whole tone into home. The final chord is Db; the ear comes to rest in Gb.
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.
Hülya Avşar - Yapma Aşkım 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: Sezgi Erciyas, Sezgin GezginMusic: Sezgi Erciyas, Sezgin GezginArrangement: Sezgin Gezgin
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