Yaprak Çamlıca - Ölüm Kalım Meselesi (Emre Aydın) - Chord

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

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Capo 0

       Dm                        C 
Ah sen bir ölüm kalım meselesi, bir ölüm kalım meselesi
Bb                       A
Bir ölüm kalım meselesiydin uzak dursun

Dm   Gm   C   F   Bb   Gm   A

Am       Bb        Gm  C      Bb
Yok yetmiyor bir veda onca zamana
Am       Bb     Gm    C   Bb
Söz geçmiyor kalbe onsuz olmuyor
Am       Bb     Gm  C       Bb
Yok bitmiyor öyle  bir tek sözünle
Am        Bb    Gm   C       Bb
Aşk yetmiyor gidene her yol bahane

Am     Bb           Gm       C       Bb     
Anlamalıydım belki, görmeliydim aşk bitti
F        Bb          Em             A
Zorladın mı kalmaya, geç anladım bağışla

Dm                    Gm           C              F
Ah ben mühürlü kapıların müdavimi, sessizliğinin dinleyeni
Bb          Gm            A          
Hiç gelmeyenin bekleyeniydim öyle olsun
Dm                 Gm            C          F
Ah sen bir ölüm kalım meselesi, bir ölüm kalım meselesi
Bb          Gm           A
Bir ölüm kalım meselesiydin uzak dursun

Dm                    Gm          C           F 
Ah sen virane hayallerin sebebi, çıkmaz yolların gölgesi
Bb          Gm           A
Bir ölüm kalım meselesiydin, uzak dursun
Dm                 Gm            C          F
Ah sen bir ölüm kalım meselesi, bir ölüm kalım meselesi
Bb          Gm           A
Bir ölüm kalım meselesiydin uzak dursun

End of song Play again?

Yaprak Çamlıca - Ölüm Kalım Meselesi (Emre Aydın) Tabs

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Harmony analysis

Yaprak Çamlıca – Ölüm Kalım Meselesi (Emre Aydın): key and chord analysis

The song opens on Dm and ends on A. 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)
#7 = C# (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 D minor side because it opens on Dm and the major V chord points straight at Dm. 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	6×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	15×
iii	Am	Mediant — a tonic-family shade	A · C · E	5×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	7×
IV	Bb	Subdominant — moves away from home	Bb · D · F	17×
V	C	Dominant — strongest pull home	C · E · G	11×
vi	Dm	Relative minor — the melancholy side	D · F · A	6×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
vii	Em	Chromatic colour chordoutside the key	E · G · B	1×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	6×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
ii	Em	Chromatic colour chordoutside the key	E · G · B	1×
III	F	Relative major — the bright side	F · A · C	6×
iv	Gm	Subdominant — moves away from home	G · Bb · D	15×
v	Am	Minor dominant — soft pull	A · C · E	5×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	7×
VI	Bb	Submediant — warm colour	Bb · D · F	17×
VII	C	Subtonic — steps back to the tonic	C · E · G	11×

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 68 times in total; 6 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. Em step outside the scale as colour chords.

Chord movement

Gm C Fii → Vii → V Dmiv → VII ×10
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×5
C F FV → Iauthentic cadence DmVII → III ×5
Gm A Fii → V/vi Dmiv → Viv → V ×5
Bb F FIV → Iplagal cadence DmVI → III ×1

The move to watch is Gm → C, heard 10 times. From the Dm side it is iv → VII; from the F 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

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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over C, land on C, E, G — the chord's own tones always sound right on strong beats.
When A comes, swap the scale's C for C#: 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 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
2 semitones up

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. The backbone is Bb, Gm, C, A — IV–ii–V–V/vi from the F side, VI–iv–VII–V from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. It closes on A, letting the F 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.

Yaprak Çamlıca - Ölüm Kalım Meselesi (Emre Aydın) Chords on Guitar, Ukulele and Piano

Hover over or tap a chord in the lyrics for its shapes, its degree in both keys and a listen button. Here you have every chord of the song side by side.

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Lyrics: Yaprak Çamlıca

Music: Yaprak Çamlıca

Arrangement: Mats Valentin

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