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)
Aydın Kurtoğlu - Şahsiyet - Chord
Key F major – D minor Chords Bb, Am, C, Dm, Bbmaj7, Gm Easy key G
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Key: F | Dm
Capo: 0
Dm Dm Bb C
Dm Bb
Yalan değil bir zamanlar sevmişliğim var seni
Dm Bb
Kalbimde şimdi yeni bir aşk hayır ya merak edersen beni
Bb Am
Bir düşün bakalım dilimden dökülen neyin ahıydı günahıydı
Bb Am
Hatırlıyorum giderken bana attığın o son kahkahayı
Bb C Am
Aşk nasıl yaşanırmış gelip yakından seyret
Bbmaj7 Gm C Bb Am
Hadi beni tebrik et ama nerde sende o şahsiyet
Bb Bb C Am Bbmaj7 Gm C Bb Am
Bb Am
Bir düşün bakalım dilimden dökülen neyin ahıydı günahıydı
Bb Am
Hatırlıyorum giderken bana attığın o son kahkahayı
Bb C Am
Aşk nasıl yaşanırmış gelip yakından seyret
Bbmaj7 Gm C Bb Am
Hadi beni tebrik et ama nerde sende o şahsiyet
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Aydın Kurtoğlu - Şahsiyet Tabs
NotesX
Harmony analysis
Aydın Kurtoğlu – Şahsiyet: 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.
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 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 3× |
| 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 | 14× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 3× |
| V | C | Dominant — strongest pull home | C · E · G | 7× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 4× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 4× |
| 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 | 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 | 14× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 3× |
| 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 41 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
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
- Gm C Fii → Vii → V Dmiv → VII ×3
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
- Bb Dm FIV → vi DmVI → iVI → i ×1
The move to watch is Bb → C, heard 4 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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 Dm, the song gives away its key from the very first bar. The chords that keep coming back are Bb, Am, C, Dm; read them as IV–iii–V–vi in F or VI–v–VII–i in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. 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.
Aydın Kurtoğlu - Şahsiyet 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: Hakkı YalçınMusic: Ceyhun ÇeliktenArrangement: Tarık İster
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