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)
Koray Avcı - Yeter - Chord
Key F major – D minor Chords Dm, A7, Gm, Em7b5 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm A7
Bilmediğim bir şey söyle bana
Dm
Mutluluğu anlat mesela
Gm Dm
Bilmediğim bir şeyler söyle
A7 Dm
O çok duyduğum yalanlar olmasın
Gm Dm
Bilmediğim bir şarkı söyle
Gm A7 Dm
Sözlerinde ayrılık olmasın
Dm
Yeter bu dünya'nın cefası derdi
Gm
Yeter boş yere kaç bahar tükendi
Yıllarca kendimi kahrettiğim yetti
A7 Dm
Gel bana bilmediğim bir şeyler söyle
Gm Dm
Yıllarca dinlediğim aynı masallar yetti
Em7b5 A7 Dm
Gel bana bilmediğim bir şeyler söyle
Gm Dm A7 Dm Gm Dm Em7b5 A7 Dm
Dm A7
Bilmediğim bir şey söyle bana
Dm
Gülmeyi anlat mesela
Gm Dm
Bilmediğim bir şeyler söyle
A7 Dm
Ezbere bildiğim dertler olmasın
Gm Dm
Bilmediğim bir şarkı söyle
Gm A7 Dm
Gözlerimde hüzün bırakmasın
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Koray Avcı - Yeter Tabs
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Harmony analysis
Koray Avcı – Yeter: 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 20 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 | 10× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 10× |
| 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 | 20× |
| viiø7 | Em7b5 | Leading-tone chord — tension | E · G · Bb · D | 2× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 20× |
| iiø7 | Em7b5 | Supertonic — prepares the dominant | E · G · Bb · D | 2× |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 10× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 10× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| 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). 4 different chords appear 42 times in total; 3 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 ×10
- Gm Dm Fii → vi Dmiv → iminor plagal ×7
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×3
- Em7b5 A7 Fviiø7 → V7/vi Dmiiø7 → V7ii° → V ×2
The move to watch is A7 → Dm, heard 10 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 A7, 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
The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, A7, Gm, Em7b5 — vi–V7/vi–ii–viiø7 from the F side, i–V7–iv–iiø7 from the Dm side. 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. The final chord is Dm; the ear comes to rest in Dm.
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.
Koray Avcı - Yeter 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: Zeynep TaluMusic: Ahmet KayaArrangement: Alper Atakan
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