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)
Melike Şahin - Diva Yorgun - Chord
Key F major – D minor Chords Am, Gm, Bb, Dm Easy key C (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Am Am Gm Bb Am
Am
Biliyordun bu diva yorgun
Sözü bi’ geçmez gönlüne
Gm
Bana geldiğin canım her gün
Bb Am
Ay doğacak ömrüme
Am
Akarından beterinden
Korudu mevlam aklımı
Gm
Göğe baktım güneşi gördüm
Bb Am
Talihim döndü mü ne?
Dm Am
Söyle canın tatlı mı
Bb Am
Senin de harbi, seven haklı mı
Dm Am
Böyle içine sığmaz da hani
Bb Am
Elinde kalbin, kederi saklı mı
Dm Am Gm
Bilmezdim senden önce bunu
Am
Değmezdi o rüzgarları baharın
Gm
Aymazdım ben toy bi’ beşerdim
Bb Gm Am
Öğrendim yüzünde
Dm Am Gm
Kar yağdı şu saçlarıma tut elimi
Am
Varmaz mı menzil bize, bu nedir
Gm
Ben razıyım senden gelene canım
Bb Gm Am
Eğlendim özümde
Bb Gm Am
Gördün mü gözümde
Am Am Gm Bb Am
Am
Kara gözlüm biz seninle
Bir ev kursak yemyeşil
Gm
Pervazında bahçesinde
Bb Am
Kumrular mı söyleşir
Am
Cennet oldun gam telimden
Çal yüreğim iyileşir
Gm
Gözlerine baktığımda
Bb Am
Yedi cihan birleşir
End of song Play again?
Melike Şahin - Diva Yorgun Tabs
NotesX
Harmony analysis
Melike Şahin – Diva Yorgun: key and chord analysis
The song opens on Am 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 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 | 13× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 25× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 11× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| 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 | 13× |
| v | Am | Minor dominant — soft pull | A · C · E | 25× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 11× |
| 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 53 times in total; 4 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
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×4
The move to watch is Am → Dm, heard 4 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.
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 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.
- Over Bb, 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 first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, Gm, Bb, Dm; read them as iii–ii–IV–vi in F or v–iv–VI–i in 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. Ending on Am, the song seals F 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.
Melike Şahin - Diva Yorgun 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: Mabel MatizMusic: Mabel MatizArrangement: Zafer Tunç Resuloğlu
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.