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)
Yüzyüzeyken Konuşuruz - Son Seslenişim - Chord
Key F major – D minor Chords Dm, Am, Gm, A7, Bb Easy key C (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm
Dm Am
Bir bilsen ne hallerdeyim
Dm Am
Öldüm de gömülmelerdeyim
Gm Bb A7
Depremsiz başıma yıkıldı evim
Dm Am
Bak taksi kapıda bekliyor
Dm Am
Kitlendi ayağım gitmiyor
Gm Bb A7
Al kalbim neyine yetmiyor
Dm Am Dm Am Gm Bb A7
Gm Dm
Bu sana son seslenişim
A7
Bunca yıl beklemişim
Dm
Bundandır vazgeçişim
Dm Am
Bak gölgen yansıyor dağlara
Dm Am
İnancım kalmadı güllere
Gm Bb A7
Ben nereden başlasam ölmeye
Dm Am
İlk gençlik mutlu bir hatıra
Dm Am
Bir şehri ilk kez görür gibi
Gm Bb A7
Saklayacak bir mezar var mı beni
Gm Dm
Bu sana son seslenişim
A7
Bunca yıl beklemişim
Dm
Bundandır vazgeçişim
End of song Play again?
Yüzyüzeyken Konuşuruz - Son Seslenişim Tabs
NotesX
Harmony analysis
Yüzyüzeyken Konuşuruz – Son Seslenişim: key and chord analysis
The song opens on Dm 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)
- #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 both starts and finishes on Dm, Dm is heard 15 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 | 7× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 10× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 7× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 5× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 15× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 15× |
| 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 | 10× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 7× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 5× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 44 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 A7 is V7/vi, a secondary dominant heading for Dm.
Chord movement
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×5
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×5
- Gm Dm Fii → vi Dmiv → iminor plagal ×2
The move to watch is A7 → Dm, heard 5 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). 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 Am, land on A, C, E — 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.
- When A7 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
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 Dm, Am, Gm, A7; read them as vi–iii–ii–V7/vi in F or i–v–iv–V7 in Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. 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.
Yüzyüzeyken Konuşuruz - Son Seslenişim 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Kaan BoşnakMusic: Kaan BoşnakArrangement: Yüzyüzeyken Konuşuruz
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.