Major view
Gb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = F (leading tone, pulls home)
- 4 = Cb (the note that leans on the 3rd)
Mustafa Ceceli - Zincirimi Kırdı Aşk - Chord
Key Gb major – Eb minor Chords Bbm, D#m, G#m, B, C# Easy key C (capo 6)
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Key: Gb | D#m | Ebm
Capo: 0
D#m
Dur konuşmam gerek senle
G#m
Tutamam artık içimde
B
Yok eder beni kavurur beni
Bbm G#m D#m
Büyüyor yangın içimde
D#m
Konuşmam gerek senle
G#m
Tutamam artık içimde
B
Üzüyor beni acıtır bedeni
Bbm G#m D#m
Seni hapsediyor içinde
D#m
Bu yangın böyle her yanı saracak
Külleri semalara savrulacak
C# Bbm B
Ben sana teslim ben sana tutsak
Bbm G#m Bbm D#m
Aşığım yüreğim çıkacak yerinden
D#m
Bu yangın böyle her yanı saracak
Külleri semalara savrulacak
C# Bbm B
Ben sana teslim ben sana tutsak
Bbm G#m Bbm G#m
Aşığım yüreğim çıkacak yerinden
C# D#m
Zincirimi kırdı aşk
D#m C# Bbm B Bbm G#m Bbm G#m C# D#m
Bbm B
Gelsin bu gece bırakmasın hiç ellerimi
Bbm B
Beklesin dolunay seyretmesin güneşimi
D#m
Terk ederim mutsuzluğun gölgesini
B G#m D#m
Aşkı meşk ederim
Zincirimi kırdı aşk
End of song Play again?
Mustafa Ceceli - Zincirimi Kırdı Aşk Tabs
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Harmony analysis
Mustafa Ceceli – Zincirimi Kırdı Aşk: key and chord analysis
The song opens on D#m and ends on D#m. Its chords belong to both Gb major and Ebm, so every chord below is read both ways.
Minor view
Eb minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Cb (the minor's melancholy)
- b7 = Db (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the Eb minor side because it both starts and finishes on Ebm and Ebm is heard 12 times while Gb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Gb 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 Gb or to Ebm; 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 |
|---|---|---|---|---|
| I | Gb | Tonic — home | Gb · Bb · Db | — |
| ii | G#m | Supertonic — prepares the dominant | G# · B · D# | 10× |
| iii | Bbm | Mediant — a tonic-family shade | Bb · Db · F | 13× |
| V/vi | Bb | Secondary dominant V/vi — leads to D#msecondary dominant | Bb · D · F | — |
| IV | B | Subdominant — moves away from home | B · D# · F# | 8× |
| V | C# | Dominant — strongest pull home | C# · E# · G# | 5× |
| vi | D#m | Relative minor — the melancholy side | D# · F# · A# | 12× |
| vii° | Fdim | Leading-tone chord — tension | F · Ab · Cb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | D#m | Tonic — home | D# · F# · A# | 12× |
| ii° | Fdim | Supertonic — prepares the dominant | F · Ab · Cb | — |
| III | Gb | Relative major — the bright side | Gb · Bb · Db | — |
| iv | G#m | Subdominant — moves away from home | G# · B · D# | 10× |
| v | Bbm | Minor dominant — soft pull | Bb · Db · F | 13× |
| V | Bb | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | Bb · D · F | — |
| VI | B | Submediant — warm colour | B · D# · F# | 8× |
| VII | C# | Subtonic — steps back to the tonic | C# · E# · G# | 5× |
Analysis
The key pair is Gb major and its relative Eb minor (6 flats). 5 different chords appear 48 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
- G#m D#m Gbii → vi Ebmiv → iminor plagal ×3
- C# D#m GbV → videceptive cadence EbmVII → iAeolian arrival ×2
- G#m C# Gbii → Vii → V Ebmiv → VII ×2
- Bbm D#m Gbiii → vi Ebmv → inatural-minor cadence ×1
- B D#m GbIV → vi EbmVI → iVI → i ×1
The move to watch is G#m → D#m, heard 3 times. From the Ebm side it is iv → i (minor plagal: deep and melancholic); from the Gb side it reads ii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Gb major pentatonic and Eb minor pentatonic are the same five notes (Gb – Ab – Bb – Db – Eb): start from Gb for a brighter phrase, from Eb for a bluesier one.
- Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
- Over D#m, land on D#, F#, A# — the chord's own tones always sound right on strong beats.
- Over G#m, land on G#, B, 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 Gb major shapes
- Capo 2 + E shapes
- Capo 4 + D shapes
- Capo 6 + C shapes
With Eb minor shapes
- Capo 1 + Dm shapes
- Capo 6 + Am shapes
Easiest keys on guitar
- 6 semitones up · capo 6 keeps the original pitch
- 1 semitone up
The song's harmonic story
The opening D#m lays a solid floor for everything that follows. Bbm, D#m, G#m, B carry the song: iii–vi–ii–IV relative to Gb, v–i–iv–VI relative to Ebm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on G#m → D#m (ii → vi in Gb, iv → i in Ebm): minor plagal — deep and melancholic. It closes on D#m, letting the Ebm side have the last word.
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.
Mustafa Ceceli - Zincirimi Kırdı Aşk 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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