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)
Konuya Fransız - Artık Şaka Kaldıramam - Chord
Key F major – D minor Chords Dm, Bb, C, Gm, A Easy key G
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Key: F | Dm
Capo: 0
Dm Bb C Bb
Dm Bb Bb A
Dm Bb C Bb
Bir inatla oturdum masaya
Dm Bb C
Herkesin gözü üstümde
Dm Bb C Bb
Yıllar geçti bu evde
Dm Bb C Bb Dm
Bugün sonu yaşıyoruz hep beraber
Dm Gm C Bb
Dm Gm C C
Dm Bb C Bb
Duvarlar üzerime dağınık düzenime
Dm Bb C
Yaşıyorum kendi halimde
Dm Bb C Bb
Yıllar geçti bu kentte
Dm Bb C Dm
Dün gecem bi sokaktan ibaret
Dm C Bb
Beni sormayın diye geç kalktım
Dm C Bb
Yetişemedim ama yine hep haklı
Dm C Bb
Ah şikayetin ne yeri ne de sırası
Dm C Bb
Düzelemedi yarın bu da cabası
Dm C Dm C
Dm C
Alışamam kalabalığın sesine falan ama
Dm C
Tek başına görünmekte zor bana
Dm C
Kimine drama diğerine komedya
Dm A
Büyüyorum uçurumun yamacında
Dm
Konuşamam artık aldım beni korumaya
Yaşamadan akan zaman şaka kaldıramaz
Sakın kaçıp anıları hatır kapısına bırak ama
C
Kapanlara takılmadan yakar hatan
Dm
Eti kemiği benim seninki değil
Yitirilen emeğin içi iç açıcı değil
Bb
Kafa kadar dolu konunun okuru yorum
Dm
Yapar apar topar sapar oradan oraya
Dm
Artık şaka kaldıramam
Gm
Buluşmadı iki yakam
Dm
Var mı başka başka yalan
C
Ona buna katlamam
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Konuya Fransız - Artık Şaka Kaldıramam Tabs
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Harmony analysis
Konuya Fransız – Artık Şaka Kaldıramam: key and chord analysis
The song opens on Dm and ends on C. 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)
- #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, Dm is heard 29 times while F never appears 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.
| 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 | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 2× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 23× |
| V | C | Dominant — strongest pull home | C · E · G | 23× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 29× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 29× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| 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 | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 2× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 23× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 23× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 80 times in total; 4 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.
Chord movement
- Bb Dm FIV → vi DmVI → iVI → i ×12
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×10
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×9
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×2
- Gm C Fii → Vii → V Dmiv → VII ×2
- Gm Dm Fii → vi Dmiv → iminor plagal ×1
The move to watch is Bb → Dm, heard 12 times. From the Dm side it is VI → i (VI → i: falls a half step into home); from the F side it reads IV → 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 Bb, land on Bb, D, F — 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. The backbone is Dm, Bb, C, Gm — vi–IV–V–ii from the F side, i–VI–VII–iv 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 Bb → Dm (IV → vi in F, VI → i in Dm): VI → i — falls a half step into home. The final chord is C; 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.
Konuya Fransız - Artık Şaka Kaldıramam 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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