Ayla Çelik - Aynalı Dolap - Chord

Key Ab major – F minor Chords C, Fm, A#m, C#, D#, G#, Gm, Cm Easy key C

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Capo 0

Fm           A#m      C#       C
Sesi soluğu çıkmadı sevdalı kuşun
D#                      G#   C
Başka bir tel sallanıyor uzakta
Fm         A#m      C#          C
Nasıl da alışmışım nokta kadar bir cana
D#                      G#   C
Nerde kaldı yolda mıdır acaba

C                                             
Sen de hiç düşündün mü beni
C#              C              A#m
Sen de merak ettin mi ne yiyip içtiğimi
Gm                     C    C#          C         Fm
Aşkı inkâr eden hikayeler, gözyaşı ve yolculukla biter
C#            C
Kim okursa onu kahreder

Fm                     A#m        Fm
Bir radyo bir karyola bir de aynalı dolap
A#m              Cm        Fm
Bize de yeterdi güvenebilseydik
                       A#m           Fm
Bir yastık da can cana geçer giderdi hayat
A#m           C#      C        Fm
Senle ben biz olmayı becerebilseydik

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Ayla Çelik - Aynalı Dolap Tabs

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Harmony analysis

Ayla Çelik – Aynalı Dolap: 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.

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)

Minor view

F minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Db (the minor's melancholy)
b7 = Eb (natural-minor colour)
#7 = E (harmonic-minor leading tone from the V chord)

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, Fm is heard 8 times against 2 for Ab and the major V chord points straight at Fm. 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.

Seen from Ab major
Degree	Chord	Role	Notes	In song
I	G#	Tonic — home	G# · B# · D#	2×
ii	A#m	Supertonic — prepares the dominant	A# · C# · E#	7×
iii	Cm	Mediant — a tonic-family shade	C · Eb · G	1×
V/vi	C	Secondary dominant V/vi — leads to Fmsecondary dominant	C · E · G	10×
IV	C#	Subdominant — moves away from home	C# · E# · G#	6×
V	D#	Dominant — strongest pull home	D# · G · A#	2×
vi	Fm	Relative minor — the melancholy side	F · Ab · C	8×
vii°	Gdim	Leading-tone chord — tension	G · Bb · Db	—
vii	Gm	Chromatic colour chordoutside the key	G · Bb · D	1×

Seen from F minor
Degree	Chord	Role	Notes	In song
i	Fm	Tonic — home	F · Ab · C	8×
ii°	Gdim	Supertonic — prepares the dominant	G · Bb · Db	—
ii	Gm	Chromatic colour chordoutside the key	G · Bb · D	1×
III	G#	Relative major — the bright side	G# · B# · D#	2×
iv	A#m	Subdominant — moves away from home	A# · C# · E#	7×
v	Cm	Minor dominant — soft pull	C · Eb · G	1×
V	C	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	C · E · G	10×
VI	C#	Submediant — warm colour	C# · E# · G#	6×
VII	D#	Subtonic — steps back to the tonic	D# · G · A#	2×

Analysis

The key pair is Ab major and its relative F minor (4 flats). 8 different chords appear 37 times in total; 6 of them sit naturally inside the shared scale. The major V of Fm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from Ab, the same C is V/vi, a secondary dominant heading for Fm. Gm step outside the scale as colour chords.

Chord movement

C Fm AbV/vi → vi FmV → iharmonic-minor cadence ×4
D# G# AbV → Iauthentic cadence FmVII → III ×2
A#m Fm Abii → vi Fmiv → iminor plagal ×2
Cm Fm Abiii → vi Fmv → inatural-minor cadence ×1

The move to watch is C → Fm, heard 4 times. From the Fm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the Ab side it reads V/vi → vi. 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 C, land on C, E, G — 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 A#m, land on A#, C#, E# — the chord's own tones always sound right on strong beats.
When C comes, swap the scale's Eb for E: that single note is the harmonic-minor sound of the chord.

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

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

The song's harmonic story

The opening Fm lays a solid floor for everything that follows. C, Fm, A#m, C# carry the song: V/vi–vi–ii–IV relative to Ab, V–i–iv–VI relative to Fm. C is the interesting twist: in Ab it is a chromatic chord (V/vi), while in Fm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → Fm (V/vi → vi in Ab, V → i in Fm): harmonic-minor cadence — the major V resolves dramatically. It closes on Fm, letting the Fm 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.