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)
Eda Tat - Aşk Sadece Bir Kelime - Chord
Key Ab major – F minor Chords Cm, Dbmaj7, Eb, Ab Easy key C
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Key: Ab | Fm
Capo: 0
Cm Cm Dbmaj7 Dbmaj7 Eb Eb Ab Dbmaj7
Cm Dbmaj7
Aç kapıyı ne yolları aştım da geldim
Eb Ab
Doğrularımdan şaştım da geldim ben sana
Dbmaj7
Tozu dumana kattım da geldim
Eb Cm
Gemileri yaktım da geldim ben sana
Cm Dbmaj7
Aç kapıyı ne yolları aştım da geldim
Eb Ab
Doğrularımdan şaştım da geldim ben sana
Dbmaj7
Tozu dumana kattım da geldim
Cm
Aşk sadede bir kelime
Dbmaj7
Söylersen oyun biter
Baksana gözlerime
Cm
Gönlün varsa bende eğer
Dbmaj7 Cm Ab
Gönlün varsa bende eğer
Cm Dbmaj7 Cm Dbmaj7
Cm
Aşk sadede bir kelime
Dbmaj7
Söylersen oyun biter
Baksana gözlerime
Cm Ab
Gönlün varsa bende eğer
Dbmaj7 Cm
Gönlün varsa bende eğer
x2
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Eda Tat - Aşk Sadece Bir Kelime Tabs
NotesX
Harmony analysis
Eda Tat – Aşk Sadece Bir Kelime: 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.
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: to us the song feels closer to the Ab major side because Ab is heard 5 times while Fm never appears. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | Ab | Tonic — home | Ab · C · Eb | 5× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 13× |
| III | C | Chromatic colour chordoutside the key | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 13× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 5× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | — |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | — |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 5× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 13× |
| 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 | 13× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 5× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 36 times in total; 4 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
- Eb Ab AbV → Iauthentic cadence FmVII → III ×3
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 chords that keep coming back are Cm, Dbmaj7, Eb, Ab; read them as iii–IVmaj7–V–I in Ab or v–VImaj7–VII–III in Fm. 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. It closes on Cm, letting the Ab 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.
Eda Tat - Aşk Sadece Bir Kelime 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: Eda TatMusic: Eda Tat
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