Kenan Doğulu - Aşka Türlü Şeyler - Chord

Key Bb major – G minor Chords Cm, Gm, Dm, D, Eb, F, Ab Easy key C

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Capo 0

Cm             Gm
Akla gelir de dile gelmez bazı şeyler 
Cm     F      Gm
Kelimeler şikayetsiz
Cm                  Gm
Ele gelir de kavuşmaz bazı şeyler
Ab                Gm
Duygular kıyafetsiz

Gm
Doğal olur esas olur 
Dm
Siyah beyaz aynı terazide
Cm
Bazen yanlış olur
Dm
Ama yine de güzel olur 

Eb
Bir adım gel biraz sarıl
Dm
Ezber bozan bir tavırla
Cm
Bazı şeyler bazı şeyler 
D
Zamanla olur

Gm
Varsan varım oyun arkadaşım
Cm                 D
Aşk ortağım benim sevgilimsin
Gm
Bilsen ne güzel serdim yollarına
            Cm 
Başka türlü başka türlü
            D
Aşka türlü şeyler 

Cm                  Gm            Cm
Bitebilir de sona ermez bazı şeyler
      F          Gm
Noktalar kifayetsiz
Cm            Gm                    Ab
Göze değer de nazar tutmaz bazı şeyler
                 Gm
Melekler telaşesiz

Eb
Tuhaf olur başka durur 
Dm
Beyaz kalem siyah kâğıtta
Cm
Büyük yazar yazmışsa
Dm
Su akar yolunu bulur 

Eb
Bir adım gel biraz sarıl
Dm
Ezber bozan bir tavırla
Cm
Bazı şeyler bazı şeyler 
D
Zamanla olur

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Kenan Doğulu - Aşka Türlü Şeyler Tabs

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Harmony analysis

Kenan Doğulu – Aşka Türlü Şeyler: key and chord analysis

The song opens on Cm and ends on D. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

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)

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 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.

Seen from Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	12×
iii	Dm	Mediant — a tonic-family shade	D · F · A	6×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	4×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	3×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	11×
bVII	Ab	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Ab · C · Eb	2×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	11×
bII	Ab	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Ab · C · Eb	2×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	12×
v	Dm	Minor dominant — soft pull	D · F · A	6×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	4×
VI	Eb	Submediant — warm colour	Eb · G · Bb	3×
VII	F	Subtonic — steps back to the tonic	F · A · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 7 different chords appear 40 times in total; 5 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. Ab is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Cm Gm Bbii → vi Gmiv → iminor plagal ×4
Cm D Bbii → V/vi Gmiv → Viv → V ×4
D Gm BbV/vi → vi GmV → iharmonic-minor cadence ×2
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2
Cm F Bbii → Vii → V Gmiv → VII ×2

The move to watch is Cm → Gm, heard 4 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → 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 Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Dm, land on D, F, A — 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.
On Ab, follow the chord's notes (Ab · C · Eb) rather than the key's scale — it's a borrowed colour.

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 first chord is Cm; the ear learns where home is within a second. The chords that keep coming back are Cm, Gm, Dm, D; read them as ii–vi–iii–V/vi in Bb or iv–i–v–V 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 Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. Ending on D, the song seals Bb 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.