Yıldız Tilbe - Aşkın Benden de Öte - Chord

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

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am  Am  C  C  Dm  Bb  Am

Am                 Bb          Gm
Gördüğüm düşlerin ömrü benden uzun
     C         Gm     Am
Seni çok seviyorum mutsuzum

Herşeyim bana inat
     Dm
Görmüyor yüzüm rahat
C         Bb       Dm
Çok özlüyorum huzursuzum
               Am    Dm             Am
Ben sana dayanamam, ayrı mı hiç duramam
C                Bb
Gözlerinde gece olmuyor
       Gm            Am
Güneşi perdeliyor bakışın

Dm                     Gm              Eb
Hem sana ihtiyacım var hem de bana delice
Cm                     F           Dm
Al beni bırakma hiç bir an bile kendime

Dm        Gm                         Eb
Aşkın benden de öte bir yere gidemem ki
Cm                      F         Dm
Sen benim kalbimsin ya alma yaşayamam ki

Gm           Cm
O kollarda bulamazsın gerçek aşkı
F               Bb
Yangınlarda sönemezsin benden ayrı
Cm                 F       Cm   Dm
Sen korksanda yine aynıyım aşığınım

End of song Play again?

Yıldız Tilbe - Aşkın Benden de Öte Tabs

NotesX

Harmony analysis

Yıldız Tilbe – Aşkın Benden de Öte: key and chord analysis

The song opens on Am 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 Gm is heard 6 times against 5 for Bb. 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	5×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	5×
V/V	C	Secondary dominant V/V — leads to Fsecondary dominant	C · E · G	5×
iii	Dm	Mediant — a tonic-family shade	D · F · A	9×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	2×
V	F	Dominant — strongest pull home	F · A · C	4×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	6×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	8×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	6×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	8×
III	Bb	Relative major — the bright side	Bb · D · F	5×
iv	Cm	Subdominant — moves away from home	C · Eb · G	5×
IV	C	Major IV — Dorian / melodic-minor colourmodal colour	C · E · G	5×
v	Dm	Minor dominant — soft pull	D · F · A	9×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	2×
VII	F	Subtonic — steps back to the tonic	F · A · C	4×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 44 times in total; 6 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

Cm F Bbii → Vii → V Gmiv → VII ×4
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×3
F Bb BbV → Iauthentic cadence GmVII → III ×1

The move to watch is Cm → F, heard 4 times. From the Gm side it is iv → VII; from the Bb side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Am, land on A, C, E — 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.

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 first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Dm, Am, Gm, C; read them as iii–vii–vi–V/V in Bb or v–ii–i–IV in Gm. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on Cm → F (ii → V in Bb, iv → VII in Gm): ii → V — the classic preparation of the dominant. Ending on Dm, the song seals Bb 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.