İrem Derici - Çok Sevmek Yasaklanmalı (Mustafa Ceceli) - Chord

Key Ab major – F minor Chords Cm, Db, Fm, Bbm, Eb Easy key C

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Capo 0

Fm  Db

Fm     Bbm   Fm    Cm
Dur, biraz konuş bişey de
    Eb      Db    Cm        Bbm
Birini bu kadar sevmek yasaklanmalı
       Fm      Db     Fm     Cm
Sen bi dur, bi sus bi duy bi dinle
    Eb      Db    Cm       Bbm
Birini bu kadar seven biri kaldı mı

      Db          Eb               Fm
Ben varım, kaçmam hiç, aşkın harbinden

   Fm         Cm       Db        Cm
Dünya kötü bi yer olabilir dayanırım
   Eb      Db         Cm       Bbm
Aşktan konuşalım üzerime alınırım
    Db          Cm        Bbm      Fm
Sen son nefesim ol yine sana sığınırım

    Fm          Cm        Db      Cm
Bir kez bana bi bak o bakışa inanırım
   Eb           Db         Cm       Bbm
Sensiz ben bi hiçim ve siyaha sarılırım
   Db         Cm         Bbm       Fm
Yalnız senin için yaşıyormuş sayılırım

   Bbm           Cm             Fm
Bu ev senin, biz elden sayılmayalım

Fm  Cm  Db  Cm  Eb  Db  Cm  Bbm  Db  Cm  Bbm  Fm

       Fm      Db     Fm     Cm
Sen bi dur, bi sus bi duy bi dinle
    Eb      Db    Cm       Bbm
Birini bu kadar seven biri kaldı mı

      Db          Eb               Fm
Ben varım, kaçmam hiç, aşkın harbinden

   Fm         Cm       Db        Cm
Dünya kötü bi yer olabilir dayanırım
   Eb      Db         Cm       Bbm
Aşktan konuşalım üzerime alınırım
    Db          Cm        Bbm      Fm
Sen son nefesim ol yine sana sığınırım

    Fm          Cm        Db      Cm
Bir kez bana bi bak o bakışa inanırım
   Eb           Db         Cm       Bbm
Sensiz ben bi hiçim ve siyaha sarılırım
   Db         Cm         Bbm       Fm
Yalnız senin için yaşıyormuş sayılırım

End of song Play again?

İrem Derici - Çok Sevmek Yasaklanmalı (Mustafa Ceceli) Tabs

NotesX

Harmony analysis

İrem Derici – Çok Sevmek Yasaklanmalı (Mustafa Ceceli): 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 20 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	15×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	27×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	—
IV	Db	Subdominant — moves away from home	Db · F · Ab	23×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	10×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	20×
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	20×
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	15×
v	Cm	Minor dominant — soft pull	C · Eb · G	27×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	—
VI	Db	Submediant — warm colour	Db · F · Ab	23×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	10×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 5 different chords appear 95 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

Bbm Fm Abii → vi Fmiv → iminor plagal ×7
Db Fm AbIV → vi FmVI → iVI → i ×3
Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×2
Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×2
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1

The move to watch is Bbm → Fm, heard 7 times. From the Fm side it is iv → i (minor plagal: deep and melancholic); from the Ab side it reads ii → 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 Cm, land on C, Eb, G — 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.
Over Fm, land on F, Ab, C — 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

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

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. Cm, Db, Fm, Bbm carry the song: iii–IV–vi–ii relative to Ab, v–VI–i–iv relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm → Fm (ii → vi in Ab, iv → i in Fm): minor plagal — deep and melancholic. 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.