Cem Belevi - Farkında mısın - Chord

Key F major – D minor Chords Am7, Dm7, Gm7, Fmaj7 Easy key C (capo 5)

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Capo 0

Dm7  Am7

Dm7                      Am7
Atsan atılmaz satsan satılmaz
            
Bir aşk bir dert bir yarası var
Gm7                   Dm7
 Öyle kolay kapanmaz artık

Onun alında yazısı var

Dm7                    Am7
Belki diner belki de biter
                     Gm7
Umurumda mı ne fark eder

Acın dert değil
     Fmaj7       Am7
Bana iyi olman yeter

      Dm7
Farkında mısın
               Am7
Aylar geçti senden haber almadım
      Dm7
Farkında mısın
                 Am7
Kaç zamandır sesini bile duymadım

      Gm7
Sen orda mısın
                Am7
Bir başka tende mi dudakların
      Gm7
Koynunda mısın
            Am7
Boşver sormadım

            Dm7
Boşver sormadım

End of song Play again?

Cem Belevi - Farkında mısın Tabs

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Harmony analysis

Cem Belevi – Farkında mısın: key and chord analysis

The song opens on Dm7 and ends on Dm7. Its chords belong to both F major and Dm, so every chord below is read both ways.

Major view

F major

Brightness rank 2/7 (bright)

Characteristic notes

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

Minor view

D minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Bb (the minor's melancholy)
b7 = C (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm and Dm is heard 7 times against 1 for F. That is an interpretation, not a rule — the same chords are just as valid seen from F 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 F or to Dm; 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 F major
Degree	Chord	Role	Notes	In song
Imaj7	Fmaj7	Tonic — home	F · A · C · E	1×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	4×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	8×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	7×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	7×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	1×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	4×
v7	Am7	Minor dominant — soft pull	A · C · E · G	8×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 20 times in total; 4 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

Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×4
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×1

The move to watch is Am7 → Dm7, heard 4 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

F major pentatonic and D minor pentatonic are the same five notes (F – G – A – C – D): start from F for a brighter phrase, from D for a bluesier one.
Over Am7, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
Over Gm7, 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 F major shapes

Capo 1 + E shapes
Capo 3 + D shapes
Capo 5 + C shapes

With D minor shapes

No capo — open Dm shapes
Capo 5 + Am shapes

Easiest keys on guitar

5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

Starting on Dm7, the song gives away its key from the very first bar. Am7, Dm7, Gm7, Fmaj7 carry the song: iii7–vi7–ii7–Imaj7 relative to F, v7–i7–iv7–IIImaj7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Dm7; the ear comes to rest in Dm.

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.