Yol'a Düş - Çayımız Soğudu - Chord

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

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Capo 0

Gm  F  C  Am  Dm

          Gm             F
Sana olan sevdam çiçekli yoldu
            C  Am        Dm
Uzanır toprağa  yağmur altında
            Gm              F
Bir haber aldım ki gözlerim doldu
           C    Am        Dm
Düşlerim yıkıldı kaldım altında

Gm          F                 C
Sen gözünde yaşla, topuğu telaşla
Am      Dm
 Geri dönme asla
Gm          F             C
Ben derdi sıralı, bahtı karalı
Am       Dm
 Ah yüreği yaralı
 
Gm  F  C  Am  Dm

           Gm             F
Çayımız soğudu, sigaramız bitti
          C   Am          Dm
İki damla yaşa kanmam bir daha
         Gm              F
İhanetin sevdamızı vurup gitti
        C     Am       Dm
Bavulun kapıda bakma ardına

Gm          F                 C
Sen gözünde yaşla, topuğu telaşla
Am      Dm
 Geri dönme asla
Gm          F             C
Ben derdi sıralı, bahtı karalı
Am       Dm
 Ah yüreği yaralı

End of song Play again?

Yol'a Düş - Çayımız Soğudu Tabs

NotesX

Harmony analysis

Yol'a Düş – Çayımız Soğudu: key and chord analysis

The song opens on Gm and ends on Dm. 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 comes to rest on 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	10×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	10×
iii	Am	Mediant — a tonic-family shade	A · C · E	10×
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	10×
vi	Dm	Relative minor — the melancholy side	D · F · A	10×
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	10×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	10×
iv	Gm	Subdominant — moves away from home	G · Bb · D	10×
v	Am	Minor dominant — soft pull	A · C · E	10×
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	10×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 50 times in total; 5 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 ×10

The move to watch is Am → Dm, heard 10 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — 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.

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 opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, F, C, Am; read them as ii–I–V–iii in F or iv–III–VII–v in Dm. 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. It closes on Dm, letting the Dm 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.