Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Ajda Pekkan - Ayrılık Ateşi (Volga Tamöz) - Chord
Key Bb major – G minor Chords Gm, D, Cm, Eb, Am, G Easy key C
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm Cm
Geceleri yakıyor en çok niye bu ayrılık ateşi
D Gm Eb D
Yine bana uyumak haram görmeden güneşi
Gm Cm
Maziyi hatırladım iki büyük soru hazırladım
D Gm Eb D
Birazcık yüreği varsa bulun bana o kalleşi
Gm
Bu gece bir fırtına kopacak
Cm Eb
Belki zaman bile duracak
Sen şöyle bir geç
Cm D
Hayat hesap soracak
Gm
Yeni başlıyor daha film
Cm
İzlemeye başla güzelim
Eb Cm
Ben çıktıysam yola
D
Büyük giderim
Eb
Hazırım ben her sona
Gm
Gelelim esas konuya
Am
Kaçıyor hayat elimden
G D
Bağıra çağıra
Gm Cm
Geceleri yakıyor en çok niye bu ayrılık ateşi
D Gm Eb D
Yine bana uyumak haram görmeden güneşi
Gm Cm
Maziyi hatırladım iki büyük soru hazırladım
D Gm Eb D
Birazcık yüreği varsa bulun bana o kalleşi
End of song Play again?
Ajda Pekkan - Ayrılık Ateşi (Volga Tamöz) Tabs
NotesX
Harmony analysis
Ajda Pekkan – Ayrılık Ateşi (Volga Tamöz): key and chord analysis
The song opens on Gm and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
- #7 = F# (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 G minor side because it opens on Gm, Gm is heard 11 times while Bb never appears and the major V chord points straight at Gm. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 8× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | — |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | 11× |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 7× |
| V | F | Dominant — strongest pull home | F · A · C | — |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 11× |
| V/ii | G | Secondary dominant V/ii — leads to Cmsecondary dominant | G · B · D | 1× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 11× |
| V/iv | G | Secondary dominant V/iv — leads to Cmsecondary dominant | G · B · D | 1× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 8× |
| v | Dm | Minor dominant — soft pull | D · F · A | — |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | 11× |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 7× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | — |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 39 times in total; 3 of them sit naturally inside the shared scale. The major V of Gm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Bb, the same D is V/vi, a secondary dominant heading for Gm. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×9
- Cm D Bbii → V/vi Gmiv → Viv → V ×6
- Eb Gm BbIV → vi GmVI → iVI → i ×1
The move to watch is D → Gm, heard 9 times. From the Gm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Bb side it reads V/vi → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over D, land on D, F#, A — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- When D comes, swap the scale's F for F#: 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, D, Cm, Eb; read them as vi–V/vi–ii–IV in Bb or i–V–iv–VI in Gm. D is the interesting twist: in Bb it is a chromatic chord (V/vi), while in Gm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on D → Gm (V/vi → vi in Bb, V → i in Gm): harmonic-minor cadence — the major V resolves dramatically. The final chord is D; the ear comes to rest in Bb.
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.
Ajda Pekkan - Ayrılık Ateşi (Volga Tamöz) 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.