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)
Yol'a Düş - Sen - Chord
Key F major – D minor Chords Dm, Gm, C, F, Bb Easy key G
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Key: F | Dm
Capo: 0
Gm F C F C Dm
Gm Dm
Sen çıkıp gelsen yar
Gm Dm
Umudun bittiği yerde
Gm Dm
Sen çıkıp gelsen yar
Gm Dm
Güllerin solduğu günde
Dm
Annem ve yarim sarılınca bana
Bb C Dm
İnansam aşıkların ölümü öldürdüğüne
Dm
Seni buldum ıssızlığın tam orta yerinde
Çekip gittin acı bırakıp ellerimde
Gm F
Ya sevmedin beni koyamadın yüreğine
C F C Dm
Ya da öldürür herkes beni sevdiğinde
Gm F C F C Dm
Gm Dm
Sen canım oldun yar
Gm Dm
Bakışın bedeldi ömre
Gm Dm
Sen acım oldun yar
Gm Dm
Sarılsak yeterdi bize
Dm
Sen her yürekten dokununca bana
Bb C Dm
İnandım aşıkların ölümü öldürdüğüne
Dm
Seni buldum ıssızlığın tam orta yerinde
Çekip gittin acı bırakıp ellerimde
Gm F
Ya sevmedin beni koyamadın yüreğine
C F C Dm
Ya da öldürür herkes beni sevdiğinde
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Yol'a Düş - Sen Tabs
NotesX
Harmony analysis
Yol'a Düş – Sen: 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.
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 and Dm is heard 18 times against 8 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 8× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 12× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 2× |
| V | C | Dominant — strongest pull home | C · E · G | 10× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 18× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 18× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 8× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 12× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 2× |
| 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
- Gm Dm Fii → vi Dmiv → iminor plagal ×8
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×6
- C F FV → Iauthentic cadence DmVII → III ×4
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
The move to watch is Gm → Dm, heard 8 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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 Dm, land on D, F, A — 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.
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
Starting on Gm, the song gives away its key from the very first bar. The backbone is Dm, Gm, C, F — vi–ii–V–I from the F side, i–iv–VII–III from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. Ending on Dm, the song seals Dm 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.
Yol'a Düş - Sen 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: Yol'a DüşMusic: Yol'a Düş
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