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)
Ayfer Vardar - Yalnızlık Paylaşılmaz - Chord
Key Db major – Bb minor Chords Bbm, Ab, Ebm, Gb, Fm Easy key C (capo 1)
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Key: Db | A#m | Bbm
Capo: 0
Bbm Ab Gb Fm Ebm Ab Bbm
x2
Bbm Ebm
Yalnızlık yaşamda bir an
Bbm
Hep yeniden başlayan
Ebm Ab Bbm Ab Bbm
Dışından anlaşılmaz
Ebm Ab Bbm
An laşılmaz
Bbm Ebm
Ya da kocaman bir yalan
Bbm
Kovdukça kovalayan
Ebm Ab Bbm Ab Bbm
Dışından paylaşılmaz
Ebm Ab Bbm
Paylaşılmaz
Bbm Ab Gb Fm Ebm
Bir düşün’de beni sana ayıran
Ab Bbm
Yalnızlık paylaşılmaz
x2
Bbm Ab Gb Fm Ebm
Paylaşılsa paylaşılsaa
Ab Bbm
Yalnızlık olmaz
Ab Gb Fm Ebm
Paylaşılsa paylaşılsaa
Ab Bbm
Yalnızlık olmaz
Bbm Ab Gb Fm Ebm Ab Bbm
Bbm Ab Gb Fm Ebm
Yalnızlık yalnızlık
Ab Bbm
Yalnızlık paylaşılmaz
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Harmony analysis
Ayfer Vardar – Yalnızlık Paylaşılmaz: key and chord analysis
The song opens on Bbm and ends on Bbm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Bb minor side because it both starts and finishes on Bbm and Bbm is heard 21 times while Db never appears. 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 | 12× |
| iii | Fm | Mediant — a tonic-family shade | F · Ab · C | 6× |
| V/vi | F | Secondary dominant V/vi — leads to Bbmsecondary dominant | F · A · C | — |
| IV | Gb | Subdominant — moves away from home | Gb · Bb · Db | 6× |
| V | Ab | Dominant — strongest pull home | Ab · C · Eb | 18× |
| vi | Bbm | Relative minor — the melancholy side | Bb · Db · F | 21× |
| vii° | Cdim | Leading-tone chord — tension | C · Eb · Gb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Bbm | Tonic — home | Bb · Db · F | 21× |
| 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 | 12× |
| v | Fm | Minor dominant — soft pull | F · Ab · C | 6× |
| V | F | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | F · A · C | — |
| VI | Gb | Submediant — warm colour | Gb · Bb · Db | 6× |
| VII | Ab | Subtonic — steps back to the tonic | Ab · C · Eb | 18× |
Analysis
The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 63 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
- Ab Bbm DbV → videceptive cadence BbmVII → iAeolian arrival ×12
- Ebm Ab Dbii → Vii → V Bbmiv → VII ×10
- Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2
The move to watch is Ab → Bbm, heard 12 times. From the Bbm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Db side it reads V → vi (deceptive cadence: expected Db, lands on 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Ab, land on Ab, C, Eb — 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.
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
- 1 semitone down · capo 1 keeps the original pitch
- 6 semitones up · capo 6 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. The backbone is Bbm, Ab, Ebm, Gb — vi–V–ii–IV from the Db side, i–VII–iv–VI from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bbm (V → vi in Db, VII → i in Bbm): Aeolian arrival — rises a whole tone into home. It closes on Bbm, letting the Bbm 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.
Ayfer Vardar - Yalnızlık Paylaşılmaz 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: Özdemir AsafMusic: Sunay ÖzgürArrangement: Sunay Özgür
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