Aydilge - Aşk Paylaşılmaz - Chord

Key Ab major – F minor Chords Eb, Fm, Db, E Easy key G (capo 1)

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Capo 0

Fm           Eb        Fm         Eb
Aşk paylaşılmaz, anlatsan anlaşılmaz
         Fm        Eb           Fm           Eb
Yine yandım yok olmaz buzlara sarsan da soğumaz
        Fm        Eb          Db         Eb
Yine yandım tutulmaz ay bile böyle tutulmaz
        Fm        Eb          Db            Eb
Yine yandım sorulmaz ah niye ben diye sorulmaz

      Fm              Eb         Db   Eb
Sana doğmuyor ya güneşim ah neyleyim, ben bittim
Fm               Eb         Db    Eb
Doğmuyor ya güneşim ah neyleyim, sen gittin

Fm                        Eb
Kalamadın öyle ah benle, kalamadın öyle dert bende
Db                         Eb             E
Yaralarım öyle çok yerde, kalamadın öyle kalamadın
Fm                        Eb
Kalamadın öyle ah benle, kalamadın öyle dert bende
Db                        Eb             E       Fm
Yaralarım öyle çok yerde yapılır mı böyle, sen söyle

Db  Eb  Fm
Aşka   söyle

End of song Play again?

Aydilge - Aşk Paylaşılmaz Tabs

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Harmony analysis

Aydilge – Aşk Paylaşılmaz: key and chord analysis

The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.

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)

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 it both starts and finishes on Fm and Fm is heard 12 times while Ab never appears. 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	Ab	Tonic — home	Ab · C · Eb	—
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	—
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	7×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	17×
bVI	E	Borrowed from the parallel minorborrowed chord	E · G# · B	2×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	12×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	12×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
III	Ab	Relative major — the bright side	Ab · C · Eb	—
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	—
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	7×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	17×
#VII	E	Chromatic colour chordoutside the key	E · G# · B	2×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 38 times in total; 3 of them sit naturally inside the shared scale. E is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×9
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×7

The move to watch is Eb → Fm, heard 9 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 Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
On E, follow the chord's notes (E · G# · B) 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 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

1 semitone down · capo 1 keeps the original pitch
4 semitones up

The song's harmonic story

Starting on Fm, the song gives away its key from the very first bar. The backbone is Eb, Fm, Db, E — V–vi–IV–bVI from the Ab side, VII–i–VI–#VII from the Fm side. E briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. Ending on Fm, the song seals Fm 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.