Hadise - Aşk Dediğin - Chord

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

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Capo 0

Dm
Anlatsam anlamaz ki

Kendi bildiği en doğru

Korkmadan sevmemiş

Bu yüzden bulamıyor yolu
Eb                   Cm
Tek bir kalp yetmiyor
               Eb
Yetse de atmıyor
               Dm
Oysa ki aşk dediğin

              Eb
Sağına soluna bakmaz
                Cm
Hep yeni bir ateş yakmaz
                 F
Bir kalbin içine girince
Cm                Dm
Bir daha dışarıya çıkmaz

             Eb
Ama bu işler sana uymaz
           Cm
Ruhun adam gibi durmaz
              F
Yıkıla yıkıla ben biterim
Cm              Dm
Sana hiçbir şey olmaz

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Hadise - Aşk Dediğin Tabs

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Harmony analysis

Hadise – Aşk Dediğin: key and chord analysis

The song opens on Dm and ends on Dm. 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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between Bb major and G minor. 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 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	5×
iii	Dm	Mediant — a tonic-family shade	D · F · A	4×
III	D	Chromatic colour chordoutside the key	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	4×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	—
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	—
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	5×
v	Dm	Minor dominant — soft pull	D · F · A	4×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	4×
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). 4 different chords appear 15 times in total; 4 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

Cm F Bbii → Vii → V Gmiv → VII ×2

The move to watch is Cm → F, heard 2 times. From the Bb side it reads ii → V (ii → V: the classic preparation of the dominant); from the Gm side it is iv → VII. 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 Dm, land on D, F, A — 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.

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 Dm lays a solid floor for everything that follows. The chords that keep coming back are Cm, Dm, Eb, F; read them as ii–iii–IV–V in Bb or iv–v–VI–VII in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → F (ii → V in Bb, iv → VII in Gm): ii → V — the classic preparation of the dominant. The final chord is Dm; 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.