Ayna - Gelincik - Chord

Key Db major – Bb minor Chords D#, A#m, Fm, G#m, G#, F# Easy key G (capo 6)

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Capo 0

Fm                   A#m
Varoşların aşıkları gerçek olur çıkarsız
Fm                       A#m
Ben de seni öyle sevdim gözüm gibi yalansız
D#          G#m          D#      A#m
İş ararken kahvelerde inanan gözlerin vardı
D#           G#m         D#       Fm
Aş pişmeyen ocaklarda aç doyuran umut vardı
D#           G#m          D#      A#m
Yağmur çamur varoşlarda sımsıcak yürekler vardı
D#         G#m                 D#      Fm
Yalınayak çocuklarda tertemiz gelecek vardı 

Fm                      A#m                    G#       
Söyle birbirimizi nasıl sevdik saçları sırma gelincik 
                  F#       G#     F#                   
Gözleri sürme gelincik suçumuz neydi bizim            
Fm                      A#m                   G#      
Sevdik birbirimizi deli sevdik saçları sırma gelincik 
                F#         G#    F#     Fm           
Gözleri sürme gelincik suçumuz neydi bizim           
 
Fm                    A#m
Varoşların sevdaları gerçek olur çıkarsız
Fm                       A#m
Ben de seni öyle sevdim gözüm gibi yalansız
D#          G#m        D#     A#m
Gözlerimde bir ümitti yanıyordu güneş gibi
D#           G#m          D#      A#m
Yoksulluğun pençesinde arıyordu gözlerini
D#           G#m         D#      A#m
Yağmur çamur varoşlarda sımsıcak yürekler vardı
D#           G#m             D#       Fm
O dalgalı saçlarında gül kokan rüzgar vardı

Fm                     A#m                    G#       
Şimdi sarılıp o geçmişe ağlar ağlar açılmaz yüreğim
                  F#       G#     F#                   
Gözleri sürme gelincik suçumuz neydi bizim    
Fm                       A#m                  G#      
Sevdik birbirimizi deli sevdik gözleri sürme gelincik
                  F#        G#     F#         
Saçları sırma gelincik suçumuz neydi bizim

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Ayna - Gelincik Tabs

NotesX

Harmony analysis

Ayna – Gelincik: key and chord analysis

The song opens on Fm and ends on F#. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because Bbm is heard 13 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db 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 Db or to Bbm; 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 Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	—
V/V	D#	Secondary dominant V/V — leads to G#secondary dominant	D# · G · A#	16×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	12×
V/vi	F	Secondary dominant V/vi — leads to A#msecondary dominant	F · A · C	—
IV	F#	Subdominant — moves away from home	F# · A# · C#	8×
V	G#	Dominant — strongest pull home	G# · B# · D#	8×
v	G#m	Chromatic colour chordoutside the key	G# · B · D#	8×
vi	A#m	Relative minor — the melancholy side	A# · C# · E#	13×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	A#m	Tonic — home	A# · C# · E#	13×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	—
IV	D#	Major IV — Dorian / melodic-minor colourmodal colour	D# · G · A#	16×
v	Fm	Minor dominant — soft pull	F · Ab · C	12×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	F#	Submediant — warm colour	F# · A# · C#	8×
VII	G#	Subtonic — steps back to the tonic	G# · B# · D#	8×
vii	G#m	Chromatic colour chordoutside the key	G# · B · D#	8×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 6 different chords appear 65 times in total; 4 of them sit naturally inside the shared scale. D# acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Fm A#m Dbiii → vi Bbmv → inatural-minor cadence ×8
F# G# DbIV → VIV → V BbmVI → VIIVI → VII ×4

The move to watch is Fm → A#m, heard 8 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The first chord is Fm; the ear learns where home is within a second. The backbone is D#, A#m, Fm, G#m — V/V–vi–iii–v from the Db side, IV–i–v–vii from the Bbm side. D# adds a moment of surprise: secondary dominant V/V — leads to G#. Keep an ear on Fm → A#m (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. It closes on F#, letting the Db 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.