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)
Murat Boz - Ayrılık Hırkası - Chord
Key F major – D minor Chords C7, Dm7, Bbmaj7, Gm7, Fmaj7 Easy key G
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Key: F | Dm
Capo: 0
Dm7 C7 Bbmaj7
Dm7 C7 Bbmaj7 C7
Sakil durur ayrılık hırkası üstünde
Dm7 C7 Bbmaj7 Gm7 C7
Hangi yalancı böyle yaralar açtı ipek teninde
Bbmaj7 Dm7
Şimdi geçmişin ortasına bir uçurum
C7 Bbmaj7 Gm7 C7
Ben hala aynı yolda yürür dururum
Dm7 Gm7
Bak sildiğin o izler aklıma gelenler
C7 Fmaj7
Kalbimdeki sesler bırakıp gittiler
Dm7 Gm7
Zor yalancı mı düşler zoraki gülüşler
C7
Aşkımı sürmüşler senden uzağa
Dm7 C7 Bbmaj7
Çok uzağa çok uzağa
Dm7 Bbmaj7 Gm7 Dm7
End of song Play again?
Murat Boz - Ayrılık Hırkası Tabs
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Harmony analysis
Murat Boz – Ayrılık Hırkası: key and chord analysis
The song opens on Dm7 and ends on Dm7. 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 it both starts and finishes on Dm and Dm is heard 9 times against 1 for F. 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 |
|---|---|---|---|---|
| Imaj7 | Fmaj7 | Tonic — home | F · A · C · E | 1× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 5× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| 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 | 7× |
| V7 | C7 | Dominant — strongest pull home | C · E · G · Bb | 10× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 9× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 9× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| IIImaj7 | Fmaj7 | Relative major — the bright side | F · A · C · E | 1× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 5× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| 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 | 7× |
| VII7 | C7 | Subtonic — steps back to the tonic | C · E · G · Bb | 10× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 32 times in total; 5 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
- Gm7 C7 Fii7 → V7ii → V Dmiv7 → VII7 ×4
- C7 Dm7 FV7 → vi7deceptive cadence DmVII7 → i7Aeolian arrival ×3
- Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×3
- C7 Fmaj7 FV7 → Imaj7authentic cadence DmVII7 → IIImaj7 ×1
- Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×1
- Bbmaj7 C7 FIVmaj7 → V7IV → V DmVImaj7 → VII7VI → VII ×1
The move to watch is Gm7 → C7, heard 4 times. From the Dm side it is iv7 → VII7; from the F side it reads ii7 → V7 (ii → V: the classic preparation of the dominant). 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 C7, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The opening Dm7 lays a solid floor for everything that follows. C7, Dm7, Bbmaj7, Gm7 carry the song: V7–vi7–IVmaj7–ii7 relative to F, VII7–i7–VImaj7–iv7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → C7 (ii7 → V7 in F, iv7 → VII7 in Dm): ii → V — the classic preparation of the dominant. It closes on Dm7, letting the Dm 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.
Murat Boz - Ayrılık Hırkası 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: Mert CarimMusic: Mert CarimArrangement: Gürsel Çelik
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