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)
Elif Buse Doğan - Eski Tadım Yok Artık - Chord
Key Ab major – F minor Chords Bbm7, Cm7, Fm7, Dbmaj7, Eb, Abmaj7 Easy key C
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Key: Ab | Fm
Capo: 0
Fm7 Kalbi kırık bir sevdakârım Cm7 Bbm7 Dbmaj7 Bir yanım tam, bir yanım yarım Eb Bitmiyor ahuzarım Dbmaj7 Belki yok, belki varım Bbm7 Fm7 Ne hâldeyim farkında mısın? Fm7 Bbm7 Eski tadım yok artık, durgunum, duruldum Cm7 Bbm7 Belli etmedim ama incindim, kırıldım Eb Bbm7 Cm7 Hep içime atmaktan inan ki yoruldum Abmaj7 Bbm7 Cm7 Ne hâldeyim farkında mısın? Fm7 Fm7 Bbm7 Cm7 Bbm7 Eb Bbm7 Cmn7 Abmaj7 Bbm7 Cm7
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Elif Buse Doğan - Eski Tadım Yok Artık Tabs
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Harmony analysis
Elif Buse Doğan – Eski Tadım Yok Artık: key and chord analysis
The song opens on Fm7 and ends on Cm7. 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 F minor side because it opens on Fm and Fm is heard 3 times against 1 for Ab. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| Imaj7 | Abmaj7 | Tonic — home | Ab · C · Eb · G | 1× |
| ii7 | Bbm7 | Supertonic — prepares the dominant | Bb · Db · F · Ab | 6× |
| iii7 | Cm7 | Mediant — a tonic-family shade | C · Eb · G · Bb | 4× |
| 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 | 2× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 2× |
| vi7 | Fm7 | Relative minor — the melancholy side | F · Ab · C · Eb | 3× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Fm7 | Tonic — home | F · Ab · C · Eb | 3× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| IIImaj7 | Abmaj7 | Relative major — the bright side | Ab · C · Eb · G | 1× |
| iv7 | Bbm7 | Subdominant — moves away from home | Bb · Db · F · Ab | 6× |
| v7 | Cm7 | Minor dominant — soft pull | C · Eb · G · Bb | 4× |
| 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 | 2× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 2× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 6 different chords appear 18 times in total; 6 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
- Bbm7 Fm7 Abii7 → vi7 Fmiv7 → i7minor plagal ×1
- Dbmaj7 Eb AbIVmaj7 → VIV → V FmVImaj7 → VIIVI → VII ×1
- Bbm7 Eb Abii7 → Vii → V Fmiv7 → VII ×1
The move to watch is Bbm7 → Fm7, heard once. From the Fm side it is iv7 → i7 (minor plagal: deep and melancholic); from the Ab side it reads ii7 → vi7. 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 Bbm7, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over Cm7, land on C, Eb, G — the chord's own tones always sound right on strong beats.
- Over Fm7, 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
Starting on Fm7, the song gives away its key from the very first bar. Bbm7, Cm7, Fm7, Dbmaj7 carry the song: ii7–iii7–vi7–IVmaj7 relative to Ab, iv7–v7–i7–VImaj7 relative to Fm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbm7 → Fm7 (ii7 → vi7 in Ab, iv7 → i7 in Fm): minor plagal — deep and melancholic. The final chord is Cm7; 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.
Elif Buse Doğan - Eski Tadım Yok Artık 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: Uğur IşılakMusic: Uğur IşılakArrangement: Salih Sakarya
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