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)
Ekin Uzunlar - Ayletme Beni (Irmak Arıcı) - Chord
Key Ab major – F minor Chords Cm7, Bbm7, Abmaj7, Dbmaj7, Eb, Fm7, Cm Easy key C
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Key: Ab | Fm
Capo: 0
Dbmaj7 Cm7 Bbm7 Cm7 Abmaj7 Bbm7 Cm7 Cm7 Bbm7 Abmaj7 Eb Fm7 Eb Şu karşı ki dağda lambalar yanar Fm7 Cm7 Dbmaj7 Cm7 Abmaj7 Bbm7 Cm7 Lambanın şavkına da fadimem, sevgiiiilim yazar Cm7 Bbm7 Abmaj7 Eb Bbm7 Cm7 Ayletme beeni, söyletme beeni Dbmaj7 Cm7 Bbm7 Cm7 Abmaj7 Bbm7 Cm Alçak yüksek tepede fadimem, bekleeetme beni Dbmaj7 Cm7 Bbm7 Cm7 Abmaj7 Bbm7 Cm7 Cm7 Bbm7 Abmaj7 Eb Fm7 Eb Şu karşı ki dağda kuzular meler Fm7 Cm7 Dbmaj7 Cm7 Abmaj7 Bbm7 Cm7 Kuzu sesi değil de fadimem, ömüüüüürler biter Cm7 Bbm7 Abmaj7 Eb Bbm7 Cm7 Ayletme beeni, söyletme beeni Dbmaj7 Cm7 Bbm7 Cm7 Abmaj7 Bbm7 Cm Alçak yüksek tepede fadimem, bekleeetme beni
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Ekin Uzunlar - Ayletme Beni (Irmak Arıcı) Tabs
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Harmony analysis
Ekin Uzunlar – Ayletme Beni (Irmak Arıcı): key and chord analysis
The song opens on Dbmaj7 and ends on Cm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
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 Ab major side because Ab is heard 10 times against 4 for Fm. That is an interpretation, not a rule — hearing the same chords from F minor is just as valid and teaches you something different.
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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Abmaj7 | Tonic — home | Ab · C · Eb · G | 10× |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 16× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 22× |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | 2× |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IVmaj7 | Dbmaj7 | Subdominant — moves away from home | Db · F · Ab · C | 6× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 6× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 4× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 4× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| IIImaj7 | Abmaj7 | Relative major — the bright side | Ab · C · Eb · G | 10× |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 16× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 22× |
| v | Cm | Minor dominant — soft pull | C · Eb · G | 2× |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VImaj7 | Dbmaj7 | Submediant — warm colour | Db · F · Ab · C | 6× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 6× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 7 different chords appear 66 times in total; 7 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
- Eb Fm7 AbV → vi7deceptive cadence FmVII → i7Aeolian arrival ×4
The move to watch is Eb → Fm7, heard 4 times. From the Ab side it reads V → vi7 (deceptive cadence: expected Ab, lands on Fm); from the Fm side it is VII → i7 (Aeolian arrival: rises a whole tone into home). 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 Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Abmaj7, land on Ab, C, Eb — 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 Dbmaj7 lays a solid floor for everything that follows. The chords that keep coming back are Cm7, Bbm7, Abmaj7, Dbmaj7; read them as iii7–ii7–Imaj7–IVmaj7 in Ab or v7–iv7–IIImaj7–VImaj7 in Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Fm7 (V → vi7 in Ab, VII → i7 in Fm): deceptive cadence — expected Ab, lands on Fm. The final chord is Cm; the ear comes to rest in Ab.
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.
Ekin Uzunlar - Ayletme Beni (Irmak Arıcı) Chords on Guitar, Ukulele and Piano
Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.
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Lyrics: AnonimMusic: Anonim
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