Major view
F major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = E (leading tone, pulls home)
- 4 = Bb (the note that leans on the 3rd)
Ceylan Ertem - İlan-ı Aşk - Chord
Key F major – D minor Chords Dm, Am, C, Gm, Bb, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Am
Hancıyım da yolcuyum da kendi dünyamda
C Bb Gm F
Yak tutuştur beni söndür aşk ile
Dm Am
Herşey hayalden ibaret bu sonsuzlukta
C Bb Gm F
Ahir zaman sevdalım ol yeter bana
Bb Am
Umduğun sevinci vermeyen kör olsun
Gm Am Bb
Oynarsan sonun olsun
Am
Kolların da sakin
Gm F
Bir çocuğum, hem kadınım da
Dm
Kırmızı güneşlerim var
C Dm
Geceler binbir masal
Gm Am
Ateşi su, suyu terin
Dm Gm
Salına salına dolaş
C Dm
Güllü bahçeler de uzan
C
Yanıma canıma sokul
F
Şarkı söylesin kahkahan
Dm C
Gün güneşten öncedir
Bb Gm
Yüzün hepsinden önce
Am
Soy değiştir al beni
C F
Giyin ruhunun üzerine
Dm
Kaçmadım asla savaştan
Am
Utanmam aşktan
C Bb
Sev hayat bir rüya
Gm F
Sev uyanmadan
Dm
Her sırrın cevabı
Am
Gizlenmiş sorusunda
C Bb Gm
Ahiiir zaman sevdalım ol
F
Yeter bana
End of song Play again?
Ceylan Ertem - İlan-ı Aşk Tabs
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Harmony analysis
Ceylan Ertem – İlan-ı Aşk: key and chord analysis
The song opens on Dm and ends on F. Its chords belong to both F major and Dm, so every chord below is read both ways.
Minor view
D minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Bb (the minor's melancholy)
- b7 = C (natural-minor colour)
Which side does the ear lean to?
Our reading: we can't honestly pick a side here — the song moves freely between F major and D minor because it comes to rest on F, it opens on Dm and Dm is heard 9 times against 7 for F. Try reading the chords both ways and see which feels more like home to you.
Chord degrees: major and relative minor
Show the degrees above the chords — relative to F or to Dm; 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 | F | Tonic — home | F · A · C | 7× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 9× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 9× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 7× |
| V | C | Dominant — strongest pull home | C · E · G | 9× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 9× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 9× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 7× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 9× |
| v | Am | Minor dominant — soft pull | A · C · E | 9× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 7× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 9× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 50 times in total; 6 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
- C F FV → Iauthentic cadence DmVII → III ×2
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×2
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
- Gm C Fii → Vii → V Dmiv → VII ×1
The move to watch is C → F, heard 2 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
- Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, 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 F major shapes
- Capo 1 + E shapes
- Capo 3 + D shapes
- Capo 5 + C shapes
With D minor shapes
- No capo — open Dm shapes
- Capo 5 + Am shapes
Easiest keys on guitar
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. The backbone is Dm, Am, C, Gm — vi–iii–V–ii from the F side, i–v–VII–iv from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. Ending on F, the song seals F 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.
Ceylan Ertem - İlan-ı Aşk 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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