Emre Aydın - Ölünmüyor - Chord

Key Eb major – C minor Chords Ab, Gm, Bb, Cm Easy key G

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Capo 0

Gm    Ab   
Ne yaptın bana sen, çünkü ben duvarlara döndüm
Gm    Ab   
Ne aldın benden sen, çünkü ben duvarlara döndüm

Gm    Ab

Gm      Ab                   Gm
Ah dağıldım tabi bende bin parçaya            
        Ab                             
Hem kırıldım, hem kırdım                  
Gm      Ab                  Gm
Ah üzüldüm tabi bende kolay değil         
        Ab
Hem kırıldım hem kızdım                   
                              
Gm            Ab                               
Yana yana ah külde oldum      
Gm         Ab                   
Bile bile düştüm vuruldum      
Gm         Ab                   
Paramparça oldum ama           
Gm        Ab                   
Ölünmüyor yokluğunda              

Gm        Ab
Ölünmüyor bak yokluğunda ama
Gm        Ab
Gülünmüyor da

Cm            Gm
İster unut, ister unutma
       Ab                 Bb
Tuzla buz kalbim görünmüyor da
Gm              Ab
İster unut, ister unutma
     Bb                  Ab
Dipteyim ben daha düşülmüyor da

End of song Play again?

Emre Aydın - Ölünmüyor Tabs

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Harmony analysis

Emre Aydın – Ölünmüyor: key and chord analysis

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

Major view

Eb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = D (leading tone, pulls home)
4 = Ab (the note that leans on the 3rd)

Minor view

C minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Ab (the minor's melancholy)
b7 = Bb (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the C minor side because Cm is heard 1 times while Eb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Eb 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 Eb or to Cm; 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 Eb major
Degree	Chord	Role	Notes	In song
I	Eb	Tonic — home	Eb · G · Bb	—
ii	Fm	Supertonic — prepares the dominant	F · Ab · C	—
iii	Gm	Mediant — a tonic-family shade	G · Bb · D	15×
V/vi	G	Secondary dominant V/vi — leads to Cmsecondary dominant	G · B · D	—
IV	Ab	Subdominant — moves away from home	Ab · C · Eb	16×
V	Bb	Dominant — strongest pull home	Bb · D · F	2×
vi	Cm	Relative minor — the melancholy side	C · Eb · G	1×
vii°	Ddim	Leading-tone chord — tension	D · F · Ab	—

Seen from C minor
Degree	Chord	Role	Notes	In song
i	Cm	Tonic — home	C · Eb · G	1×
ii°	Ddim	Supertonic — prepares the dominant	D · F · Ab	—
III	Eb	Relative major — the bright side	Eb · G · Bb	—
iv	Fm	Subdominant — moves away from home	F · Ab · C	—
v	Gm	Minor dominant — soft pull	G · Bb · D	15×
V	G	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	G · B · D	—
VI	Ab	Submediant — warm colour	Ab · C · Eb	16×
VII	Bb	Subtonic — steps back to the tonic	Bb · D · F	2×

Analysis

The key pair is Eb major and its relative C minor (3 flats). 4 different chords appear 34 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

Ab Bb EbIV → VIV → V CmVI → VIIVI → VII ×2
Ab Cm EbIV → vi CmVI → iVI → i ×1

The move to watch is Ab → Bb, heard 2 times. From the Cm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Eb side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Eb major pentatonic and C minor pentatonic are the same five notes (Eb – F – G – Bb – C): start from Eb for a brighter phrase, from C for a bluesier one.
Over Ab, land on Ab, C, Eb — 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.
Over Bb, land on Bb, D, F — 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 Eb major shapes

Capo 1 + D shapes
Capo 3 + C shapes
Capo 6 + A shapes

With C minor shapes

Capo 3 + Am shapes

Easiest keys on guitar

4 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Gm lays a solid floor for everything that follows. Ab, Gm, Bb, Cm carry the song: IV–iii–V–vi relative to Eb, VI–v–VII–i relative to Cm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Ab → Bb (IV → V in Eb, VI → VII in Cm): VI → VII — the rising step that heads for the tonic. The final chord is Ab; the ear comes to rest in Eb.

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.