Ayla Çelik - Aşık Oldum Giderken - Chord

Key Ab major – F minor Chords Fm, Bbm, Db, Cm, Eb, Ebm, Dbmaj7 Easy key G (capo 1)

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Capo 0

Fm
Ne çok şey kattın ömrüme
                         Bbm
Hiçbir şey seninle bir tutulmuyor 
                 Eb
Ben mutlu olmayı senden öğrendim 
  Db                   Fm
Senin gibi gidenler unutulmuyor 

      Db       Cm
Bu sevda ancak seninle
Bbm
Sevda olurdu
     Cm
Seni tanımak bile
      Bbm    Fm
Benim için gururdu

Fm
Belki geçti, belki erken 
                   Cm     Eb
Ayrılık zor, çok severken
Bbm    Db
 O gün sana, bir kez daha
Bbm  Db       Fm     Ebm  Fm
 Aşık oldum giderken
 
                   Dbmaj7
Belki geçti, belki erken 
                   Cm     Eb
Ayrılık zor, çok severken
Bbm    Db
 O gün sana, bir kez daha
Bbm  Db       Fm 
 Aşık oldum giderken

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Ayla Çelik - Aşık Oldum Giderken Tabs

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Harmony analysis

Ayla Çelik – Aşık Oldum Giderken: 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 7 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	7×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	4×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	6×
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	1×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	3×
v	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	1×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	7×
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	7×
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	7×
v	Cm	Minor dominant — soft pull	C · Eb · G	4×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	6×
VImaj7	Dbmaj7	Submediant — warm colour	Db · F · Ab · C	1×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	3×
vii	Ebm	Chromatic colour chordoutside the key	Eb · Gb · Bb	1×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 29 times in total; 6 of them sit naturally inside the shared scale. Ebm step outside the scale as colour chords.

Chord movement

Db Fm AbIV → vi FmVI → iVI → i ×3
Bbm Fm Abii → vi Fmiv → iminor plagal ×1
Bbm Eb Abii → Vii → V Fmiv → VII ×1

The move to watch is Db → Fm, heard 3 times. From the Fm side it is VI → i (VI → i: falls a half step into home); from the Ab side it reads IV → vi. 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 Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.
Over Bbm, land on Bb, Db, F — 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.

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

The first chord is Fm; the ear learns where home is within a second. Fm, Bbm, Db, Cm carry the song: vi–ii–IV–iii relative to Ab, i–iv–VI–v relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Db → Fm (IV → vi in Ab, VI → i in Fm): VI → i — falls a half step into home. The final chord is Fm; the ear comes to rest in Fm.

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.