Ahmet Kaya - Nereden Bileceksiniz - Chord

Key F major – D minor Chords Bb, Dm, Am, C Easy key G

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Capo 0

  
Dm  C  Bb  Am

Am                     Bb
Üstüm başım toz içinde, önüm arkam pus içinde
C
 Sakallarım pas içinde
Dm                        Bb               Am
Siz benim nasıl yandığımı, nerden bileceksiniz

Dm                     C
Bir fidandım devrildim, fırtınaydım duruldum
Bb
 Yoruldum çok yoruldum
Dm                        Bb               Am
Siz benim neler çektiğimi, nerden bileceksiniz

Am                        Bb
Taş duvarlar yıkıp geldim, demirleri söküp geldim
C                       Dm
 Hayatımı yıkıp geldim, hey
Dm                        Bb               Am
Siz benim neden kaçtığımı, nerden bileceksiniz

Am                       Bb
Gökte yıldız söner şimdi, annem beni arar şimdi
C
 Sevdiğim var kanar şimdi
Dm                      Bb               Am
Siz benim niye içtiğimi, nerden bileceksiniz

Dm                     C
Bir pınardım kan oldum, yol kenarı han oldum
Bb
 Yanıldım ah ziyan oldum
Dm                        Bb               Am
Siz benim neden sustuğumu, nerden bileceksiniz

Am                       Bb
Ben ardımda yaş bıraktım, ağlayan bir eş bıraktım
C                         Dm
 Sol yanımı boş bıraktım, hey
Dm                       Bb               Am
Siz benim kime küstüğümü, nerden bileceksiniz

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Ahmet Kaya - Nereden Bileceksiniz Tabs

NotesX

Harmony analysis

Ahmet Kaya – Nereden Bileceksiniz: key and chord analysis

The song opens on Dm and ends on Am. 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 opens on Dm and Dm is heard 11 times while F never appears. 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
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	11×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	13×
V	C	Dominant — strongest pull home	C · E · G	7×
vi	Dm	Relative minor — the melancholy side	D · F · A	11×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	11×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
v	Am	Minor dominant — soft pull	A · C · E	11×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	13×
VII	C	Subtonic — steps back to the tonic	C · E · G	7×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 42 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

C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4
Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
Bb Dm FIV → vi DmVI → iVI → i ×2

The move to watch is C → Dm, heard 4 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
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.

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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. The backbone is Bb, Dm, Am, C — IV–vi–iii–V from the F side, VI–i–v–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. Ending on Am, the song seals F 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.