Aydilge - Kendimi Kırdım Ben - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

C
  Dünya dönme dünya
     Db
Bana hiç gülmedin ya
   C
Dünya dönme dünya
     Db
Beni hiç sevmedin ya

C
Attıklarım içime

Birikiyor el ele
Db                  Bbm
Neden neden ne diye

C
Kimin için bu yarış

Kavga, dövüş hediye
Db                 Bbm
Süslü paketlerinde

           C   Db
Kendimi yordum ben
Bbm            C
Kendimi kırdım ben
Db
Sorma neden ne diye aman aman
Bbm            C
Kendimi vurdum ben

Db
Yok mu bunun çözümü
Bbm              C
Hep kazanır mı kötü
Db
Herkesin ruhu ölü amman amman
Bbm             C
Boş yere yandım ben

End of song Play again?

Aydilge - Kendimi Kırdım Ben Tabs

NotesX

Harmony analysis

Aydilge – Kendimi Kırdım Ben: key and chord analysis

The song opens on C and ends on C. 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)
#7 = E (harmonic-minor leading tone from the V chord)

Which side does the ear lean to?

Our reading: to us the song feels closer to the F minor side because the major V chord points straight at Fm. 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	6×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	—
III	C	Chromatic colour chordoutside the key	C · E · G	9×
IV	Db	Subdominant — moves away from home	Db · F · Ab	8×
V	Eb	Dominant — strongest pull home	Eb · G · Bb	—
vi	Fm	Relative minor — the melancholy side	F · Ab · C	—
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	—
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	6×
v	Cm	Minor dominant — soft pull	C · Eb · G	—
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	9×
VI	Db	Submediant — warm colour	Db · F · Ab	8×
VII	Eb	Subtonic — steps back to the tonic	Eb · G · Bb	—

Analysis

The key pair is Ab major and its relative F minor (4 flats). 3 different chords appear 23 times in total; 2 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull.

Chord movement

Bbm C Abii → III Fmiv → Viv → V ×6

The move to watch is Bbm → C, heard 6 times. From the Fm side it is iv → V (iv → V: the minor side's tension builder); from the Ab side it reads ii → III. 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 C, land on C, E, 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 Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
When C comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.

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 C lays a solid floor for everything that follows. C, Db, Bbm carry the song: III–IV–ii relative to Ab, V–VI–iv relative to Fm. C is the interesting twist: in Ab it is a chromatic chord (III), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bbm → C (ii → III in Ab, iv → V in Fm): iv → V — the minor side's tension builder. The final chord is C; 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.