Ajda Pekkan - Arada Sırada - Chord

Key Bb major – G minor Chords Dm, Cm, Gm, D#, Eb, F Easy key C

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Capo 0

Gm   Dm   Eb   Dm   Cm   Dm

 Dm               D#
Dünya farkında sen değilsin,
 Cm                Dm
Bensiz aşkınla kalma böyle
 Dm                 D#
Kim var karşımda sen değilsin
  Cm                Dm
Bittin aslında ben de öyle

Gm                F      
Duyamadım aşktan ara sıra
       Eb
Birkaç yeni kelime yine de

   Gm             
Arada sırada aklıma geliyor         
    Dm                             
Geldiği gibi de gitmeyi bilmiyor    
    D#                             
Kalbime gömülen emin olma diyor     
      Dm          Cm       Dm        
Beni öldürüyor kendisi yaşıyor   

   Gm             
Arada sırada aklıma geliyor         
    Dm                             
Geldiği gibi de gitmeyi bilmiyor    
    D#                             
Kalbime gömülen emin olma diyor     
      Dm           Cm     Dm        
Bana gün dediğin akşamı buluyor    

Gm   Dm   Eb   Dm   Cm   Dm

 Dm                     D#
Aşklar faslında tek deliydim
 Cm                       Dm
Sende tam varken, bende gölge
 Dm                    D#
Hayret aslında sen bilirdin
  Cm                   Dm
Sustun karşımda ben de öyle

Gm                F      
Duyamadım aşktan ara sıra
       Eb
Birkaç yeni kelime yine de

End of song Play again?

Ajda Pekkan - Arada Sırada Tabs

NotesX

Harmony analysis

Ajda Pekkan – Arada Sırada: key and chord analysis

The song opens on Gm and ends on Eb. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 6 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	—
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	8×
iii	Dm	Mediant — a tonic-family shade	D · F · A	20×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	D#	Subdominant — moves away from home	D# · G · A#	6×
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	4×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	6×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	6×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
III	Bb	Relative major — the bright side	Bb · D · F	—
iv	Cm	Subdominant — moves away from home	C · Eb · G	8×
v	Dm	Minor dominant — soft pull	D · F · A	20×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	D#	Submediant — warm colour	D# · G · A#	6×
VI	Eb	Submediant — warm colour	Eb · G · Bb	4×
VII	F	Subtonic — steps back to the tonic	F · A · C	2×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 6 different chords appear 46 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

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×4
Eb Gm BbIV → vi GmVI → iVI → i ×1

The move to watch is Dm → Gm, heard 4 times. From the Gm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Bb side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Cm, land on C, Eb, G — the chord's own tones always sound right on strong beats.
Over Gm, land on G, Bb, D — 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Gm, the song gives away its key from the very first bar. Dm, Cm, Gm, D# carry the song: iii–ii–vi–IV relative to Bb, v–iv–i–VI relative to Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Dm → Gm (iii → vi in Bb, v → i in Gm): natural-minor cadence — gentle, modal arrival. The final chord is Eb; the ear comes to rest in Bb.

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.