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)
Güven Yüreyi - Bomboş Kalbine - Chord
Key F major – D minor Chords Am7, Bb, Gm7, Dm7, C, Gm Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am7
Bitti farkındaysan
Gm7 Am7
Yıprattık tertemiz aşkı
Dm7 C Bb
Biten şeylerin ardından konuşmak
Am7
Doğru olmaz
Bb Am7
Zaten bu bana hiç uymaz
Bb Dm7
Zaten bu bana hiç uymaz
Am7 Gm
Seviyordum ben zaten gitmek istediğini bile bile
Ne kadar zormuş atlatmak
Bb Am7
İçim acıyor seve seve
Gm7
Senin de aksın tüm gözyaşların o bomboş kalbine
Bb Am7
Elbette ağlarsın sen de aşkım diye diye
Am7 Gm7 Am7 Gm7 Bb Am7 Gm7 Am7
Am7
Gittin farkındaysan
Gm7 Am7
Yıprattık tertemiz aşkı
Dm7 C Bb
Biten şeylerin ardından konuşmak
Am7
Doğru olmaz
Bb Am7
Zaten bu bana hiç uymaz
Bb Dm7
Zaten bu bana hiç uymaz
Am7 Gm
Seviyordum ben zaten gitmek istediğini bile bile
Ne kadar zormuş atlatmak
Bb Am7
İçim acıyor seve seve
Gm7
Senin de aksın tüm gözyaşların o bomboş kalbine
Bb Am7
Elbette ağlarsın sen de aşkım diye diye
End of song Play again?
Güven Yüreyi - Bomboş Kalbine Tabs
NotesX
Harmony analysis
Güven Yüreyi – Bomboş Kalbine: key and chord analysis
The song opens on Am7 and ends on Am7. 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 Dm is heard 4 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 7× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 2× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 18× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 11× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 4× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 4× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 7× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 2× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 18× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 11× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 44 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
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×2
- Bb Dm7 FIV → vi7 DmVI → i7VI → i ×2
The move to watch is Am7 → Dm7, heard 2 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. 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 Am7, 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 Gm7, land on G, Bb, D — 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 Am7 lays a solid floor for everything that follows. Am7, Bb, Gm7, Dm7 carry the song: iii7–IV–ii7–vi7 relative to F, v7–VI–iv7–i7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. Ending on Am7, 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.
Güven Yüreyi - Bomboş Kalbine 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: Çağrı TelkıvıranMusic: Çağrı TelkıvıranArrangement: Çağrı Telkıvıran
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