Yalın - Aşkta Telafi Olmaz - Chord

Key D major – B minor Chords D, A, G, F#m, Bm Easy key G (capo 7)

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Capo 0

D
Bittiyse söyle 
F#m            Bm
Yok yere savaşmayalım 
G          D
Canın çekmiyorsa ayları 
A               D
Boşuna harcamayalım 

D
Bittiyse söyle 
F#m            Bm
Sevgili rolü oynamayalım 
G              D
Aramız karalanmışsa aşkım 
A             D
Boşuna kandırmayalım 

Bm           F#m
Yakmam resimlerini 
        G               A
Odama ışık yaparım emin ol 
    Bm        F#m             G             A
Bu hayat biterken de aklımda hep sen olacaksın 

D               A
Zorlama gözyaşını akmaz 
G                D
Mecburen üzüntü olmaz 
                A
Bana bir borcun yok 
G             A
Aşkta telafi olmaz

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Yalın - Aşkta Telafi Olmaz Tabs

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Harmony analysis

Yalın – Aşkta Telafi Olmaz: key and chord analysis

The song opens on D and ends on A. Its chords belong to both D major and Bm, so every chord below is read both ways.

Major view

D major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

B minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = G (the minor's melancholy)
b7 = A (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D major side because it opens on D and D is heard 8 times against 4 for Bm. That is an interpretation, not a rule — hearing the same chords from B minor is just as valid and teaches you something different.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to D or to Bm; 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 D major
Degree	Chord	Role	Notes	In song
I	D	Tonic — home	D · F# · A	8×
ii	Em	Supertonic — prepares the dominant	E · G · B	—
iii	F#m	Mediant — a tonic-family shade	F# · A · C#	4×
V/vi	F#	Secondary dominant V/vi — leads to Bmsecondary dominant	F# · A# · C#	—
IV	G	Subdominant — moves away from home	G · B · D	6×
V	A	Dominant — strongest pull home	A · C# · E	7×
vi	Bm	Relative minor — the melancholy side	B · D · F#	4×
vii°	C#dim	Leading-tone chord — tension	C# · E · G	—

Seen from B minor
Degree	Chord	Role	Notes	In song
i	Bm	Tonic — home	B · D · F#	4×
ii°	C#dim	Supertonic — prepares the dominant	C# · E · G	—
III	D	Relative major — the bright side	D · F# · A	8×
iv	Em	Subdominant — moves away from home	E · G · B	—
v	F#m	Minor dominant — soft pull	F# · A · C#	4×
V	F#	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F# · A# · C#	—
VI	G	Submediant — warm colour	G · B · D	6×
VII	A	Subtonic — steps back to the tonic	A · C# · E	7×

Analysis

The key pair is D major and its relative B minor (2 sharps). 5 different chords appear 29 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

A D DV → Iauthentic cadence BmVII → III ×3
G D DIV → Iplagal cadence BmVI → III ×3
G A DIV → VIV → V BmVI → VIIVI → VII ×3
F#m Bm Diii → vi Bmv → inatural-minor cadence ×2
A Bm DV → videceptive cadence BmVII → iAeolian arrival ×1

The move to watch is A → D, heard 3 times. From the D side it reads V → I (authentic cadence: the strongest arrival home); from the Bm side it is VII → III. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open D shapes
Capo 2 + C shapes
Capo 5 + A shapes

With B minor shapes

Capo 2 + Am shapes
Capo 7 + Em shapes

Easiest keys on guitar

5 semitones up · capo 7 keeps the original pitch
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

Starting on D, the song gives away its key from the very first bar. D, A, G, F#m carry the song: I–V–IV–iii relative to D, III–VII–VI–v relative to Bm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on A → D (V → I in D, VII → III in Bm): authentic cadence — the strongest arrival home. Ending on A, the song seals D as home.

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.