Ziynet Sali - İmkansız Bir Aşk Denir - Chord

Key Ab major – F minor Chords Cm7, Dbmaj7, Bbm7, Abmaj7, Bbm Easy key C

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Capo 0

Dbmaj7  Cm7  Dbmaj7  Cm7  Dbmaj7  Cm7  Bbm7  Abmaj7

          Dbmaj7             Cm7
Milyon yıldız içinde soluk mavi bir nokta
        Dbmaj7             Cm7
Yaşamak güçleşiyor neler açtın başıma
         Dbmaj7             Cm7
Anlatsam şu derdimi küçücük çocuklara
       Bbm7                Abmaj7
Baya gülerler ama olsun belki iyi gelir

        Dbmaj7                Cm7
Deli birşey yapmanın fikri girdi aklıma
      Dbmaj7                   Cm7
Madem sana söylediğim herşey gider boşluğa
          Dbmaj7            Cm7
Yazsam bu hikayeyi alsam gömsem toprağa
          Bbm7                Abmaj7
Yıllar sonra bulunur imkansız bir aşk denir

Dbmaj7       Cm7
İmkansız bir aşk denir
Bbm7         Cm7
İmkansız bir aşk
Dbmaj7       Cm7
İmkansız bir aşk denir
Bbm          Abmaj7
İmkansız bir aşk

Dbmaj7  Cm7  Bbm7  Abmaj7

          Dbmaj7              Cm7
Görmem sanmıştım seni yanında bir başkasıyla
          Dbmaj7                 Cm7
Gündüz birşey hissetmedim gece bıçak karnıma
        Dbmaj7            Cm7
Benimde elimi bir başkası tutabilir
        Bbm7               Abmaj7
Beraber verdiğimiz sözleri kim ne bilir

Dbmaj7       Cm7
İmkansız bir aşk denir
Bbm7         Cm7
İmkansız bir aşk
Dbmaj7       Cm7
İmkansız bir aşk denir
Bbm          Abmaj7
İmkansız bir aşk

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Ziynet Sali - İmkansız Bir Aşk Denir Tabs

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Harmony analysis

Ziynet Sali – İmkansız Bir Aşk Denir: key and chord analysis

The song opens on Dbmaj7 and ends on Abmaj7. 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 Ab major side because it comes to rest on Ab and Ab is heard 7 times while Fm never appears. 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
Imaj7	Abmaj7	Tonic — home	Ab · C · Eb · G	7×
ii7	Bbm7	Supertonic — prepares the dominant	Bb · Db · F · Ab	7×
ii	Bbm	Supertonic — prepares the dominant	Bb · Db · F	2×
iii7	Cm7	Mediant — a tonic-family shade	C · Eb · G · Bb	19×
III	C	Chromatic colour chordoutside the key	C · E · G	—
IVmaj7	Dbmaj7	Subdominant — moves away from home	Db · F · Ab · C	17×
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	—
IIImaj7	Abmaj7	Relative major — the bright side	Ab · C · Eb · G	7×
iv7	Bbm7	Subdominant — moves away from home	Bb · Db · F · Ab	7×
iv	Bbm	Subdominant — moves away from home	Bb · Db · F	2×
v7	Cm7	Minor dominant — soft pull	C · Eb · G · Bb	19×
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	17×
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). 5 different chords appear 52 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Dbmaj7, land on Db, F, Ab — 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.

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

Starting on Dbmaj7, the song gives away its key from the very first bar. The backbone is Cm7, Dbmaj7, Bbm7, Abmaj7 — iii7–IVmaj7–ii7–Imaj7 from the Ab side, v7–VImaj7–iv7–IIImaj7 from the Fm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Abmaj7; 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.