Major view
Db major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = C (leading tone, pulls home)
- 4 = Gb (the note that leans on the 3rd)
Aydilge - Ay - Chord
Key Db major – Bb minor Chords F7, Bbm, Ebm, Gb Easy key G (capo 6)
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Key: Db | A#m | Bbm
Capo: 0
F7 Bbm
Ay, içime düştü bu ay
F7
Her derdim olmuş bir yay
Ebm Gb F7
Okla vur beni, kolay
F7 Bbm
Ay, içime çöktü bu ay
F7
Çelme takmak ne kolay
Ebm Gb F7
Düşsem görmez kimse vay
Bbm F7
Çaldınız hayatımı
Ebm F7
Mutlu şarkılarımı
Bbm F7
Umudumu verin bana
Gb Ebm F7
Doldum doldum döndüm taşa
F7 Bbm
Ay, içime çöktü bu ay
F7
Her derdim olmuş bir yay
Ebm Gb F7
Okla vur beni, kolay
Bbm F7
Çaldınız hayatımı
Ebm F7
Mutlu şarkılarımı
Bbm F7
Umudumu verin bana
Gb Ebm F7
Doldum doldum döndüm taşa
F7 Bbm
Ay, içimi söktü bu ay
F7
Her derdim olmuş bir yay
Ebm Gb F7
Okla vur beni, kolay
F7 Bbm
Ay, içime çöktü bu ay
F7
Çelme takmak ne kolay
Ebm Gb F7
Düşsem görmez kimse vay
End of song Play again?
Aydilge - Ay Tabs
NotesX
Harmony analysis
Aydilge – Ay: key and chord analysis
The song opens on F7 and ends on F7. Its chords belong to both Db major and Bbm, so every chord below is read both ways.
Minor view
Bb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Gb (the minor's melancholy)
- b7 = Ab (natural-minor colour)
- #7 = A (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 9 times while Db never appears and the major V chord points straight at Bbm. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 | Db | Tonic — home | Db · F · Ab | — |
| ii | Ebm | Supertonic — prepares the dominant | Eb · Gb · Bb | 9× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | — |
| V7/vi | F7 | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C · Eb | 23× |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 7× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | — |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 9× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 9× |
| ii° | Cdim | Supertonic — prepares the dominant | C · Eb · Gb | — |
| III | Db | Relative major — the bright side | Db · F · Ab | — |
| iv | Ebm | Subdominant — moves away from home | Eb · Gb · Bb | 9× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | — |
| V7 | F7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C · Eb | 23× |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 7× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | — |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 4 different chords appear 48 times in total; 3 of them sit naturally inside the shared scale. The major V of Bbm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Db, the same F7 is V7/vi, a secondary dominant heading for Bbm.
Chord movement
- F7 Bbm DbV7/vi → visecondary resolution BbmV7 → iharmonic-minor cadence ×9
- Ebm F7 Dbii → V7/vi Bbmiv → V7iv → V ×4
The move to watch is F7 → Bbm, heard 9 times. From the Bbm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the Db side it reads V7/vi → vi (secondary resolution: F7 resolves a fourth up to Bbm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
- Over F7, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Bbm, land on Bb, Db, F — 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.
- When F7 comes, swap the scale's Ab for A: that single note is the harmonic-minor sound of the chord.
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 Db major shapes
- Capo 1 + C shapes
- Capo 4 + A shapes
- Capo 6 + G shapes
With Bb minor shapes
- Capo 1 + Am shapes
- Capo 6 + Em shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone down · capo 1 keeps the original pitch
The song's harmonic story
The first chord is F7; the ear learns where home is within a second. The backbone is F7, Bbm, Ebm, Gb — V7/vi–vi–ii–IV from the Db side, V7–i–iv–VI from the Bbm side. F7 is the interesting twist: in Db it is a chromatic chord (V7/vi), while in Bbm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on F7 → Bbm (V7/vi → vi in Db, V7 → i in Bbm): harmonic-minor cadence — the major V resolves dramatically. Ending on F7, the song seals Db 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.
Aydilge - Ay 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: AydilgeMusic: AydilgeArrangement: Samuray Gökçe
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