Tarkan - Ayrılık Zor - Chord

Key F major – D minor Chords C, Dm, Gm, Bb, Am Easy key G

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Capo 0

Gm  C  Dm
 
Gm       C   Dm
Ayrılık zor ayrılık
Bb             C      Dm
Çekilir dert değil sevgilim
Gm         C       Dm
Gurbetin soğuk geceleri
Bb           C     Dm
Alınyazım kaderim benim
 
Gm   C     Am    Dm   Gm            C          Dm   
Oooooff   ooooff      arada aşkın hatırı olmasa       
Gm   C     Am    Dm   Gm          C             Dm       
Oooooff   ooooff      durmazdım inan buralarda      
 
Gm          C      Dm
Yalnızlık zor yalnızlık
Bb                 C        Dm
Her yiğidin harcı değil sevgilim
Gm            C       Dm
Gurbetin ıssızdır geceleri
Bb            C     Dm
Yar deniz sıcağına hasretim
 
Gm   C     Am    Dm   Gm            C          Dm   
Oooooff   ooooff      arada aşkın hatırı olmasa       
Gm   C     Am    Dm   Gm          C             Dm       
Oooooff   ooooff      durmazdım inan buralarda 
 
C
Her veda zulum ona
Bb
Hasret okuyor canına
Am
Mecbur biliyor gönül katlanıyor
C
Gitmeli diyor bu diyardan
Bb
Tükenip ziyan olmadan
Am
Gönül yapamıyor göze alamıyor

Gm      C   Dm
Aşk dokunmak ister gülüm
Sevilip okşanmak ister
Aşk sevdiğini yanında ister
Kimi zaman dile gelir aşk
Dudaktan kalbe akmak ister
yar ara beni arada bir sesini duyur
yoksa bu ayrılıklar hepten çekilmez olur

End of song Play again?

Tarkan - Ayrılık Zor Tabs

NotesX

Harmony analysis

Tarkan – Ayrılık Zor: key and chord analysis

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

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)

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: to us the song feels closer to the D minor side because it comes to rest on Dm and Dm is heard 18 times while F never appears. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	14×
iii	Am	Mediant — a tonic-family shade	A · C · E	6×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	20×
vi	Dm	Relative minor — the melancholy side	D · F · A	18×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	18×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	14×
v	Am	Minor dominant — soft pull	A · C · E	6×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	6×
VII	C	Subtonic — steps back to the tonic	C · E · G	20×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 64 times in total; 5 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 Dm FV → videceptive cadence DmVII → iAeolian arrival ×14
Gm C Fii → Vii → V Dmiv → VII ×14
Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
Am Dm Fiii → vi Dmv → inatural-minor cadence ×4

The move to watch is C → Dm, heard 14 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). 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 C, land on C, E, 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 Gm, land on G, Bb, D — 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. The backbone is C, Dm, Gm, Bb — V–vi–ii–IV from the F side, VII–i–iv–VI 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 → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. Ending on Dm, the song seals Dm 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.