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)
Key F major – D minor Chords Am, Dm, Gm Easy key C (capo 5)
Dm
Dirilttin tam gömerken
Am
Ben kendimi bana hapsederken
Dm
Şöyle bi baktım
Am
Peşime düşmeyecek gibi gördüm en azından
Dm
Sen aklımdan geçerken
Am
Varlığıma kısa ömür biçerken
Dm
Gözüm döndü ve ikimizi gördüm
Am
Tüm dünyaya kafa tutarken
Dm Am
Uyunur mu ki ömrümü sana bir anlatsam
Gm Am
Beni yukarıda görüp geldin, bilir, aşağılatmam
Dm Am
Bizi içinde bi kaybet, ah, kaçıralım yine durağı
Gm Am
Bir adam öyle öpülmez, mezarımın yeri dudağın
Dm Am
Beni durdur ya da öyle bakma
Dm
Sen de bir el at, harbi yoruldum
Am
Hadi, ilk seferimizmiş gibi yapalım
Dm Am
Hep olur mu, yine son denir de
Gm
Dayanamayıp geriye dönersin
Am
Beni bulursun
Dm Am Dm Am Dm Am Gm Am
Dm
Ben kentinden geçerken
Am
Tattım seni de bir uğramışken
Dm
Şöyle bi baktım
Am
İçine düşmeyecek gibi geçtim kenarından
Dm
Sen kendinden geçerken
Am
Ben yoksunluktan düşerken
Dm
Kaçtım, başka bir yol seçtim
Am
Hem çok normal, hem yasalken
Dm Am
Kurumuş gözü gönlün, umarım, ağlatmam
Gm Am
Seni düşümde görüp geldim, çok ayıp, anlatmam
Dm Am
Bizi şarkıya yazdım, tüm semti ve sokağı
Gm Am
Adama öyle gülünmez, yakıyor evi ocağı
Dm Am
Beni durdur ya da öyle bakma
Dm
Sen de bir el at, harbi yoruldum
Am
Hadi, ilk seferimizmiş gibi yapalım
Dm Am
Hep olur mu, yine son denir de
Gm
Dayanamayıp geriye dönersin
Am
Beni bulursun
End of song Play again?
Harmony 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.
Major view
Brightness rank 2/7 (bright)
Characteristic notes
Minor view
Brightness rank 5/7 (leaning dark)
Characteristic notes
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 21 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.
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 | 7× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 28× |
| 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 | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 21× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 21× |
| 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 | 7× |
| v | Am | Minor dominant — soft pull | A · C · E | 28× |
| 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 | — |
The key pair is F major and its relative D minor (1 flat). 3 different chords appear 56 times in total; 3 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
The move to watch is Am → Dm, heard 20 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.
Empty slices are chords the song doesn't use.
The first chord is Dm; the ear learns where home is within a second. Am, Dm, Gm carry the song: iii–vi–ii relative to F, v–i–iv relative to 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 Am, letting the F 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.
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.
Ready-made lists by difficulty and mood.
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