Major view
Ab major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G (leading tone, pulls home)
- 4 = Db (the note that leans on the 3rd)
Aydilge - Aşk Paylaşılmaz - Chord
Key Ab major – F minor Chords Eb, Fm, Db, E Easy key G (capo 1)
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Key: Ab | Fm
Capo: 0
Fm Eb Fm Eb
Aşk paylaşılmaz, anlatsan anlaşılmaz
Fm Eb Fm Eb
Yine yandım yok olmaz buzlara sarsan da soğumaz
Fm Eb Db Eb
Yine yandım tutulmaz ay bile böyle tutulmaz
Fm Eb Db Eb
Yine yandım sorulmaz ah niye ben diye sorulmaz
Fm Eb Db Eb
Sana doğmuyor ya güneşim ah neyleyim, ben bittim
Fm Eb Db Eb
Doğmuyor ya güneşim ah neyleyim, sen gittin
Fm Eb
Kalamadın öyle ah benle, kalamadın öyle dert bende
Db Eb E
Yaralarım öyle çok yerde, kalamadın öyle kalamadın
Fm Eb
Kalamadın öyle ah benle, kalamadın öyle dert bende
Db Eb E Fm
Yaralarım öyle çok yerde yapılır mı böyle, sen söyle
Db Eb Fm
Aşka söyle
End of song Play again?
Aydilge - Aşk Paylaşılmaz Tabs
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Harmony analysis
Aydilge – Aşk Paylaşılmaz: key and chord analysis
The song opens on Fm and ends on Fm. Its chords belong to both Ab major and Fm, so every chord below is read both ways.
Minor view
F minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Db (the minor's melancholy)
- b7 = Eb (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F minor side because it both starts and finishes on Fm and Fm is heard 12 times while Ab never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Ab 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 Ab or to Fm; 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 | Ab | Tonic — home | Ab · C · Eb | — |
| ii | Bbm | Supertonic — prepares the dominant | Bb · Db · F | — |
| iii | Cm | Mediant — a tonic-family shade | C · Eb · G | — |
| V/vi | C | Secondary dominant V/vi — leads to Fmsecondary dominant | C · E · G | — |
| IV | Db | Subdominant — moves away from home | Db · F · Ab | 7× |
| V | Eb | Dominant — strongest pull home | Eb · G · Bb | 17× |
| bVI | E | Borrowed from the parallel minorborrowed chord | E · G# · B | 2× |
| vi | Fm | Relative minor — the melancholy side | F · Ab · C | 12× |
| vii° | Gdim | Leading-tone chord — tension | G · Bb · Db | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Fm | Tonic — home | F · Ab · C | 12× |
| ii° | Gdim | Supertonic — prepares the dominant | G · Bb · Db | — |
| III | Ab | Relative major — the bright side | Ab · C · Eb | — |
| iv | Bbm | Subdominant — moves away from home | Bb · Db · F | — |
| v | Cm | Minor dominant — soft pull | C · Eb · G | — |
| V | C | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C · E · G | — |
| VI | Db | Submediant — warm colour | Db · F · Ab | 7× |
| VII | Eb | Subtonic — steps back to the tonic | Eb · G · Bb | 17× |
| #VII | E | Chromatic colour chordoutside the key | E · G# · B | 2× |
Analysis
The key pair is Ab major and its relative F minor (4 flats). 4 different chords appear 38 times in total; 3 of them sit naturally inside the shared scale. E is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Eb Fm AbV → videceptive cadence FmVII → iAeolian arrival ×9
- Db Eb AbIV → VIV → V FmVI → VIIVI → VII ×7
The move to watch is Eb → Fm, heard 9 times. From the Fm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the Ab side it reads V → vi (deceptive cadence: expected Ab, lands on Fm). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Ab major pentatonic and F minor pentatonic are the same five notes (Ab – Bb – C – Eb – F): start from Ab for a brighter phrase, from F for a bluesier one.
- Over Eb, land on Eb, G, Bb — 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.
- Over Db, land on Db, F, Ab — the chord's own tones always sound right on strong beats.
- On E, follow the chord's notes (E · G# · B) rather than the key's scale — it's a borrowed colour.
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 Ab major shapes
- Capo 1 + G shapes
- Capo 4 + E shapes
- Capo 6 + D shapes
With F minor shapes
- Capo 1 + Em shapes
- Capo 3 + Dm shapes
Easiest keys on guitar
- 1 semitone down · capo 1 keeps the original pitch
- 4 semitones up
The song's harmonic story
Starting on Fm, the song gives away its key from the very first bar. The backbone is Eb, Fm, Db, E — V–vi–IV–bVI from the Ab side, VII–i–VI–#VII from the Fm side. E briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Eb → Fm (V → vi in Ab, VII → i in Fm): Aeolian arrival — rises a whole tone into home. Ending on Fm, the song seals Fm 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.
Aydilge - Aşk Paylaşılmaz 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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