Aşkın Nur Yengi - Ay İnanmıyorum - Chord

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

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Capo 0

Gm  Dm  Gm  Dm

Cm  Gm  Eb  Cm  Dm

     Gm                  Dm            Gm               Dm
Bir volkan kopuyor yine bedenimde, anlamsız sızılar içimde
      Cm                Gm            Eb    Cm      Dm
Saklarım sevdamı gücüm yetmese bile, yangınımın içinde

    Gm                   Dm           Gm                 Dm
Bir hasret büyüyor yine yüreğimde, sebepsiz heceler dilimde
     Cm                Gm            Eb    Cm      Dm
Tutarım sevdamı kalbim ağlasa bile, gözyaşımın içinde

    Dm                              Eb
Ay inanmıyorum ay inanmıyorum, ay inanmıyorum
     Dm                                Eb
Aşka çıldırdım dönendim durdum, yandım kavruldum
      Gm             F               Eb            Dm
Deli sevdaymış yolu bilmezmiş, zora gelmezmiş ay inanmıyorum
      Gm              F                 Eb          Cm     Dm
Sevmişim boşuna bakmadan yaşına, darısı başına ay inanmıyorum

End of song Play again?

Aşkın Nur Yengi - Ay İnanmıyorum Tabs

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Harmony analysis

Aşkın Nur Yengi – Ay İnanmıyorum : key and chord analysis

The song opens on Gm and ends on Dm. 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 11 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	7×
iii	Dm	Mediant — a tonic-family shade	D · F · A	13×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	7×
V	F	Dominant — strongest pull home	F · A · C	2×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	11×
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	11×
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	7×
v	Dm	Minor dominant — soft pull	D · F · A	13×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	7×
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). 5 different chords appear 40 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

Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×6
Cm Gm Bbii → vi Gmiv → iminor plagal ×3
Eb Gm BbIV → vi GmVI → iVI → i ×1

The move to watch is Dm → Gm, heard 6 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 Gm, land on G, Bb, D — 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.

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

The opening Gm lays a solid floor for everything that follows. Dm, Gm, Cm, Eb carry the song: iii–vi–ii–IV relative to Bb, v–i–iv–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. It closes on Dm, letting the Bb 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.