Major view
C major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = B (leading tone, pulls home)
- 4 = F (the note that leans on the 3rd)
Feride Hilal Akın - İmkansız Aşk (Onur Baytan, Halil İbrahim Kurum) - Chord
Key C major – A minor Chords Em, G, F, Dm, Am Difficulty already in its easiest key
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Key: C | Am
Capo: 0
Dm Em
İmkansız aşk bana kader mi
G Am G
Kabul etmek çok zor böylece biter mi her şey
Dm Em
Aşk, bana keder mi
G Am
Canımı alıp giderken de yüzün güler mi
F G
Sevdiğim senden ayrı düşmeyi
Dm
Seni başka bir aşkla görmeyi
Em G
Ben de gitmeyi istemiyorum ama
Am G
Yıkılmamış hala duvarlarım
F
Kahrolur belki her gün ağlarım
Em G
Seni senden de çok seviyorum ama
F Dm Em F Em
İmkansız aşk, imkansız aşk
F G
İmkansız aşkı gel bir de bana sor
Dm
Sensizlik ölümden daha zor
Em G
Bir çözüm de bulamıyorum ben
Am G
Sevilmeden de sevmenin yarası
F
Gelirsin diye gönlümün kapısı
Em G
Kapanmıyor ki anla halimden
F Dm Em F Em
İmkansız aşk, imkansız aşk
F Em F Em
İmkansız aşk, imkansız aşk
End of song Play again?
Feride Hilal Akın - İmkansız Aşk (Onur Baytan, Halil İbrahim Kurum) Tabs
NotesX
Harmony analysis
Feride Hilal Akın – İmkansız Aşk (Onur Baytan, Halil İbrahim Kurum): key and chord analysis
The song opens on Dm and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.
Minor view
A minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = F (the minor's melancholy)
- b7 = G (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the A minor side because Am is heard 4 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 | C | Tonic — home | C · E · G | — |
| ii | Dm | Supertonic — prepares the dominant | D · F · A | 6× |
| iii | Em | Mediant — a tonic-family shade | E · G · B | 12× |
| V/vi | E | Secondary dominant V/vi — leads to Amsecondary dominant | E · G# · B | — |
| IV | F | Subdominant — moves away from home | F · A · C | 10× |
| V | G | Dominant — strongest pull home | G · B · D | 11× |
| vi | Am | Relative minor — the melancholy side | A · C · E | 4× |
| vii° | Bdim | Leading-tone chord — tension | B · D · F | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Am | Tonic — home | A · C · E | 4× |
| ii° | Bdim | Supertonic — prepares the dominant | B · D · F | — |
| III | C | Relative major — the bright side | C · E · G | — |
| iv | Dm | Subdominant — moves away from home | D · F · A | 6× |
| v | Em | Minor dominant — soft pull | E · G · B | 12× |
| V | E | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | E · G# · B | — |
| VI | F | Submediant — warm colour | F · A · C | 10× |
| VII | G | Subtonic — steps back to the tonic | G · B · D | 11× |
Analysis
The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 43 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
- G Am CV → videceptive cadence AmVII → iAeolian arrival ×4
- F G CIV → VIV → V AmVI → VIIVI → VII ×2
The move to watch is G → Am, heard 4 times. From the Am side it is VII → i (Aeolian arrival: rises a whole tone into home); from the C side it reads V → vi (deceptive cadence: expected C, lands on Am). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- C major pentatonic and A minor pentatonic are the same five notes (C – D – E – G – A): start from C for a brighter phrase, from A for a bluesier one.
- Over Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, D — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — 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 C major shapes
- No capo — open C shapes
- Capo 3 + A shapes
- Capo 5 + G shapes
With A minor shapes
- No capo — open Am shapes
- Capo 5 + Em shapes
- Capo 7 + Dm shapes
Easiest keys on guitar
The song is already written in its easiest key for guitar.
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The backbone is Em, G, F, Dm — iii–V–IV–ii from the C side, v–VII–VI–iv from the Am side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G → Am (V → vi in C, VII → i in Am): Aeolian arrival — rises a whole tone into home. The final chord is Em; the ear comes to rest in C.
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.
Feride Hilal Akın - İmkansız Aşk (Onur Baytan, Halil İbrahim Kurum) 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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