Yıldız Tilbe - Yaşa ve Gör (RamZan) - Chord

Key F major – D minor Chords Am7, Gm7, Bbmaj7, F, Dm7, C Easy key C (capo 5)

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Capo 0

Am7  Gm7

Am7      Gm7          Am7
Soruyorum aşk nedir diye
        Gm7           Am7
Yüreğime ders verir diye
Gm7   Bbmaj7        Am7
İçimde bu kıpırtı niye
Gm7   Bbmaj7        Am7
Galiba aşık oluyorum ben

Gm7   Bbmaj7        Am7
İçimde bu kıpırtı niye
Gm7   Bbmaj7        Am7
Galiba aşık oluyorum ben

F          Gm7       Bbmaj7   Am7
Bilmiyorum bilmiyorum anlamıyorum
F          Gm7       Bbmaj7   Am7
Bilmiyorum bilmiyorum çözemiyorum

Dm7            Bbmaj7
Kimi masal dedi başlayıp biten
Am7
Kimi çile dedi her günü sitem
Bbmaj7        Gm7
Kimi ateş dedi yanıp da tüten
C      Gm7  Am7
Ben bu aşkı anlamadım

Dm7                Bbmaj7
Sevip de ayrılanlar harap dediler
Am7
İçini mest eden şarap dediler
Bbmaj7          Gm7
Görünüp kaybolan serap dediler
C       Gm7     Am7
Yaşa ve gör dediler

End of song Play again?

Yıldız Tilbe - Yaşa ve Gör (RamZan) Tabs

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Harmony analysis

Yıldız Tilbe – Yaşa ve Gör (RamZan): 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.

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)

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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.

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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	2×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	13×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	14×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	10×
V	C	Dominant — strongest pull home	C · E · G	2×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	2×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	2×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	13×
v7	Am7	Minor dominant — soft pull	A · C · E · G	14×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	10×
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 43 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
Gm7 C Fii7 → Vii → V Dmiv7 → VII ×2

The move to watch is Am7 → Dm7, heard 2 times. From the F side it reads iii7 → vi7; from the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival). 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 Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Bbmaj7, land on Bb, D, F — 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. The chords that keep coming back are Am7, Gm7, Bbmaj7, F; read them as iii7–ii7–IVmaj7–I in F or v7–iv7–VImaj7–III in 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. It closes on Am7, 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.