Mabel Matiz - Aşk Yok Olmaktır - Chord

Key C major – A minor Chords Dm, Am, F, Em, G Easy key G (capo 5)

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Capo 0

Am  G  F  Dm
F

Am                             Dm            Em
Çok kararlısın, kalbimi çıra gibi yakmaya niye
Am                                Dm            Em
Duvar çekiyorsam, yanıyorum için için, bitti işim
Am                  Dm               Em
Saklar mı yüreğin, yüreğimi içinin her yerinde
Am               Dm                 Em
Eski kelimeler, döndürüyor başımı sen söylediğinde

Dm        G        F                 Dm
Korkular, arzular, nasıl başım dar, bilsen şaşarsın yar
Em         G         F                 Dm          Am
Her yerim kördüğüm, dolaşık ipin ucunu bul çözeyim

Am                        G
Her ayrıntım sayıklıyor, sükunetim deliliğimden
F                         Dm             F
Aşk yok olmak diyor biri, yar ben yokum yok zaten
Am                       G
Ayyaş ruhum sayıklıyor, her zerrem sende çarpıyor
F                         Dm             F          Am
Aşk yok olmaksa şimdiden, yar ben yokum ben de zaten

Am  G  F  Dm
F

Am                             Dm            Em
Bin çalıntı aşk tecrübesi bakıyor gözlerime ah
Am                              Dm         Em
Soru soruyorsam tuzağına düşeceğim bana günah
Am                  Dm              Em
Saklar mı yüreğin, yüreğimi içinin her yerinde
Am               Dm                 Em
Eski kelimeler, döndürüyor başımı sen söylediğinde

End of song Play again?

Mabel Matiz - Aşk Yok Olmaktır Tabs

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Harmony analysis

Mabel Matiz – Aşk Yok Olmaktır: key and chord analysis

The song opens on Am and ends on Em. Its chords belong to both C major and Am, so every chord below is read both ways.

Major view

C major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

A minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

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

Which side does the ear lean to?

Our reading: to us the song feels closer to the A minor side because it opens on Am and Am is heard 14 times while C never appears. That is an interpretation, not a rule — the same chords are just as valid seen from C 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 C or to Am; 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 C major
Degree	Chord	Role	Notes	In song
I	C	Tonic — home	C · E · G	—
ii	Dm	Supertonic — prepares the dominant	D · F · A	15×
iii	Em	Mediant — a tonic-family shade	E · G · B	9×
V/vi	E	Secondary dominant V/vi — leads to Amsecondary dominant	E · G# · B	—
IV	F	Subdominant — moves away from home	F · A · C	10×
V	G	Dominant — strongest pull home	G · B · D	6×
vi	Am	Relative minor — the melancholy side	A · C · E	14×
vii°	Bdim	Leading-tone chord — tension	B · D · F	—

Seen from A minor
Degree	Chord	Role	Notes	In song
i	Am	Tonic — home	A · C · E	14×
ii°	Bdim	Supertonic — prepares the dominant	B · D · F	—
III	C	Relative major — the bright side	C · E · G	—
iv	Dm	Subdominant — moves away from home	D · F · A	15×
v	Em	Minor dominant — soft pull	E · G · B	9×
V	E	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	E · G# · B	—
VI	F	Submediant — warm colour	F · A · C	10×
VII	G	Subtonic — steps back to the tonic	G · B · D	6×

Analysis

The key pair is C major and its relative A minor (no sharps or flats). 5 different chords appear 54 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

Em Am Ciii → vi Amv → inatural-minor cadence ×6
F Am CIV → vi AmVI → iVI → i ×4
Dm Am Cii → vi Amiv → iminor plagal ×1
Dm G Cii → Vii → V Amiv → VII ×1

The move to watch is Em → Am, heard 6 times. From the Am side it is v → i (natural-minor cadence: gentle, modal arrival); from the C side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

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

No capo — open C shapes
Capo 3 + A shapes
Capo 5 + G shapes

With A minor shapes

No capo — open Am shapes
Capo 5 + Em shapes
Capo 7 + Dm shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Am lays a solid floor for everything that follows. Dm, Am, F, Em carry the song: ii–vi–IV–iii relative to C, iv–i–VI–v relative to Am. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Em → Am (iii → vi in C, v → i in Am): natural-minor cadence — gentle, modal arrival. The final chord is Em; the ear comes to rest in C.

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.