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)
Dolu Kadehi Ters Tut - Ölene Dek Can Ozan - Chord
Key F major – D minor Chords Em, Bm, F#m, D, A Easy key Eb (capo 2)
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Key: F | Dm
Capo: 0
Bm A Bm A
Em Bm Em Bm
Nasıl yanmiyim, nasıl ölmiyim
F#m Em F#m Em Bm
Sen yoksaan, sen yoksaaaaan
Em Bm
Nasıl sönmesin güneş
Em Bm
Nasıl durmasın dünya
F#m Em F#m Em Bm
Sen yoksaan, sen yoksaaaaan
F#m Em
Ölene dek acı
F#m Em Bm
Ölene dek hasret, yolu bu mu?
F#m Em
Ölene dek hüzün
F#m Em Bm
Ölene dek uzak, yolu bu mu?
D Em D Em Bm Em D Em
D Em D Em Bm Bm
Em Bm Em Bm
Yalan söyledim, yanarken içim
F#m Em F#m Em
Bir duysaaan, bir duysan
Em Bm Em Bm
Yalnızlığımda bi’ tek yanımda
F#m Em F#m Em Bm
Sen olsaaaaan sen olsaan
F#m Em
Ölene dek acı
F#m Em Bm
Ölene dek hasret, yolu bu mu?
F#m Em
Ölene dek hüzün
F#m Em Bm
Ölene dek uzak, yolu bu mu?
F#m Em F#m Em Bm Bm
F#m Em F#m Em Bm Bm Em
F#m Em
Ölene dek acı
F#m Em
Ölene dek hasret
End of song Play again?
Dolu Kadehi Ters Tut - Ölene Dek Can Ozan Tabs
NotesX
Harmony analysis
Dolu Kadehi Ters Tut – Ölene Dek Can Ozan: key and chord analysis
The song opens on Bm and ends on Em. 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 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 | — |
| bii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 22× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 2× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| #iv | Bm | Chromatic colour chordoutside the key | B · D · F# | 24× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| VI | D | Chromatic colour chordoutside the key | D · F# · A | 5× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| vii | Em | Chromatic colour chordoutside the key | E · G · B | 37× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| I | D | Chromatic colour chordoutside the key | D · F# · A | 5× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| ii | Em | Chromatic colour chordoutside the key | E · G · B | 37× |
| III | F | Relative major — the bright side | F · A · C | — |
| #iii | F#m | Chromatic colour chordoutside the key | F# · A · C# | 22× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| 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 | 2× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| #vi | Bm | Chromatic colour chordoutside the key | B · D · F# | 24× |
| 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 90 times in total; 0 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 A is V/vi, a secondary dominant heading for Dm. Em, Bm, F#m, D step outside the scale as colour chords.
Chord movement
There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.
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 Em, land on E, G, B — the chord's own tones always sound right on strong beats.
- Over Bm, land on B, D, F# — the chord's own tones always sound right on strong beats.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- When A 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
- 2 semitones down · capo 2 keeps the original pitch
- 5 semitones up · capo 7 keeps the original pitch
The song's harmonic story
The opening Bm lays a solid floor for everything that follows. Em, Bm, F#m, D carry the song: vii–#iv–bii–VI relative to F, ii–#vi–#iii–I relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. It closes on Em, 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.
Dolu Kadehi Ters Tut - Ölene Dek Can Ozan 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: Oğulcan Ava, Uğurhan Özay, Can Ozan ÖzçelikMusic: Oğulcan Ava, Uğurhan Özay, Can Ozan ÖzçelikArrangement: Oğulcan Ava, Uğurhan Özay, Can Ozan Özçelik
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