Ayna - Gemiler Sapasağlam - Chord

Key F major – D minor Chords Am, Bb, Dm, C, Gm, Em7b5 Easy key C (capo 5)

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Capo 0

Dm             Am            Dm
Bir çift güvercin gibiydik seninle
Am
Uçmak istedik masmavi göklere
C                       Bb
Aşkın hükmü kalmamış ki dünyada
C          Bb         Gm         Am
Şimdi paramparça bir acı kalbimizde

Dm        Am         Dm
Bizi bırakmadılar ki biz bize
Am
Koparıp aldılar beni bir gece
C                      Bb
Kapkara bir duman oldu gökyüzü
Em7b5      Bb      Am
Ayrılık geceyi örtünce

Am
Gemiler sapasağlam
     Dm         Bb
Yaktılar denizleri
Gm
Bekleme sevgilim
C        Bb    Am
Dönmem artık geri

Am         Bb      Dm         Am
Aldılar gençliğimi attılar uçurumlara
Dm              Bb
Şimdi ne versen de yalan
     C     Bb   Am
Günahsız çocuklara

Am       Bb      Dm         Am
Aldılar ümitleri yıktılar bulutlara
Dm              Bb
Şimdi ne versen de yalan
     C    Bb   Am
Günahsız aşıklara
 
Am
Gemiler sapasağlam
     Dm         Bb
Yaktılar denizleri
Gm
Bekleme sevgilim
C        Bb    Am
Dönmem artık geri

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Ayna - Gemiler Sapasağlam Tabs

NotesX

Harmony analysis

Ayna – Gemiler Sapasağlam: 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 10 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	3×
iii	Am	Mediant — a tonic-family shade	A · C · E	16×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	14×
V	C	Dominant — strongest pull home	C · E · G	7×
vi	Dm	Relative minor — the melancholy side	D · F · A	10×
viiø7	Em7b5	Leading-tone chord — tension	E · G · Bb · D	1×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	10×
iiø7	Em7b5	Supertonic — prepares the dominant	E · G · Bb · D	1×
III	F	Relative major — the bright side	F · A · C	—
iv	Gm	Subdominant — moves away from home	G · Bb · D	3×
v	Am	Minor dominant — soft pull	A · C · E	16×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	14×
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). 6 different chords appear 51 times in total; 6 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

Am Dm Fiii → vi Dmv → inatural-minor cadence ×7
Bb C FIV → VIV → V DmVI → VIIVI → VII ×3
Gm C Fii → Vii → V Dmiv → VII ×2
Bb Dm FIV → vi DmVI → iVI → i ×2

The move to watch is Am → Dm, heard 7 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
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.

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

The first chord is Dm; the ear learns where home is within a second. The backbone is Am, Bb, Dm, C — iii–IV–vi–V from the F side, v–VI–i–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 Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Am; the ear comes to rest in F.

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.