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)
Deniz Tekin - Benim Aşık Olmam Gerek - Chord
Key Ab major – F minor Chords Bb, Eb, Cm, Fm, F, Bbm, Gm, Ab … Easy key C
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Key: Ab | Fm
Capo: 0
Bbm Eb Bbm Eb Bbm Eb Bbm Eb Fm Cm Benim aşık olmam gerek, yolda kaybolmam gerek Bbm Ab Eb Ve ancak o zaman yaşar hissederim Fm Cm Bbm Benim aşık olmam için bana dünyalar gerek değil Bbm Ab Eb Bir kere gül şarkılar dizeyim Fm Cm Benim aşık olmam demek, kendimi bulmam demek Bbm Ab Eb Bana anılar ver bu şehri seveyim Fm Cm Bb Benim aşık olmam için, tek bir güzel söz gerek değil Bbm Ab Eb Ufak şeylerin peşinden giderim Fm Bb Kendimi tanımam lazım biraz daha Fm Bb Bana benim gibi biri gerek Eb Bb Elimden gelen bişey yok, büyük değil vaatlerim Ab Cm Gm Fm En azından hiç kimseden dünyaları beklemedim Eb Bb Bana bir kere gül ben de şarkılar dizeyim Ab Bb Elimden gelen tek şey bu, ben böyleyim Eb Cm Bb Ab Hayat böyle çok boş, kendimi kaybetmem gerek yeniden Cm Gm Benim aşık olmam gerek, yollara düşmem gerek Fm Eb Bb Ve ancak o zaman tamam hissederim Cm Gm Fm Benim aşık olmam için, boş sözler vermen gerek değil Fm Eb Bb Ben insanı en çok özgürken severim Cm F Kendini rahat bırak biraz daha Cm F Bazen insana huzur gerek Bb F Elimden gelen bişey yok, ben fazla düşünenlerdenim Eb Dm Cm En azından endişelerimin üstünü örtmedim Bb F Bana bir kere hissettir şarkılar dizeyim Eb F Herkesin yolu farklı, ben de böyleyim Bb Gm F Eb Hayat çok sıkıcı, aşık olmam gerek yeniden Gm Dm Benim aşık olmam gerek, yüzde kaybolmam gerek Cm Bb F Sadece o zaman mutlu hissederim Gm Dm Cm Benim aşık olmam için, pek de güzellik gerek değil Cm Bb F Ben ruhunun peşinden giderim Gm Dm Benim aşık olmam demek, kuşları duymam demek Cm Bb F Ben insan sevince dünyayı severim Gm Dm Yeniden aşık olmam için önce iyileşmem gerek Cm Bb F Bb Önce kendimi seveyim, sonra düşünürüm
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Deniz Tekin - Benim Aşık Olmam Gerek Tabs
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Harmony analysis
Deniz Tekin – Benim Aşık Olmam Gerek: key and chord analysis
The song opens on Bbm and ends on Bb. 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 F minor side because Fm is heard 10 times against 7 for Ab. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 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 | 7× |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | 9× |
| V/V | Bb | Secondary dominant V/V — leads to Ebsecondary dominant | Bb · D · F | 17× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 16× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | — |
| #iv | Dm | Chromatic colour chordoutside the key | D · F · A | 5× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 16× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 10× |
| V/ii | F | Secondary dominant V/ii — leads to Bbmsecondary dominant | F · A · C | 10× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| vii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 8× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 10× |
| V/iv | F | Secondary dominant V/iv — leads to Bbmsecondary dominant | F · A · C | 10× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| ii | Gm | Chromatic colour chordoutside the key | G · Bb · D | 8× |
| III | Ab | Relative major — the bright side | Ab · C · Eb | 7× |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | 9× |
| IV | Bb | Major IV — Dorian / melodic-minor colourmodal colour | Bb · D · F | 17× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 16× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | — |
| #vi | Dm | Chromatic colour chordoutside the key | D · F · A | 5× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 16× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 9 different chords appear 98 times in total; 5 of them sit naturally inside the shared scale. Bb, F act as secondary dominants, briefly pointing at another chord of the key.
Chord movement
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×5
- Bbm Eb Abii → Vii → V Fmiv → VII ×4
The move to watch is Eb → Fm, heard 5 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). 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 Bb, land on Bb, D, F — 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.
- Over Cm, land on C, Eb, G — 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Bbm, the song gives away its key from the very first bar. The chords that keep coming back are Bb, Eb, Cm, Fm; read them as V/V–V–iii–vi in Ab or IV–VII–v–i in Fm. Bb adds a moment of surprise: secondary dominant V/V — leads to Eb. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. It closes on Bb, 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.
Deniz Tekin - Benim Aşık Olmam Gerek 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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