Edis - Azar Azar - Chord

Key F major – D minor Chords Dm, Am, Gm, Bb, C Easy key C (capo 5)

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Capo 0

Dm  Am  Dm  Am

Dm   Gm         Am                Dm
Öyle bakma inanırım yalan yalan yalan
     Gm            Am               Dm
Kime sorsam şu halimi harap harap harap
         Gm             Am               Dm
Ölsem de geçmez bir acı bu yakar yakar yakar
      Gm              Am            Dm
Yiyip bitirdi şu kalbimi azar azar azar

Dm            Gm
Kim haklı kim mağdur
      Am
Yavaş ol be birazcık sağduyu 
     Dm               Gm
Yine hislerime yaptın taarruz
    Am                        Dm
Ama gözlerin geliyor bana makuul

    Am                        Bb
Ama gözlerin geliyor bana makuul

Bb
O uzun gecelerde
      C                     Dm
Nasıl ağladım be can dayanmadı
              Gm           Am
Dedim onda da kalp var, belki akıllanır

Bb
Bir yanım sana hasta
   C                      Dm
Ne yapsan yine hiç aldırmadı
             Gm          Am
Bir yanım toplanmış, kaçıyor adım adım


Dm   Gm         Am                Dm
Öyle bakma inanırım yalan yalan yalan
     Gm            Am               Dm
Kime sorsam şu halimi harap harap harap
         Gm             Am               Dm
Ölsem de geçmez bir acı bu yakar yakar yakar
      Gm              Am            Dm
Yiyip bitirdi şu kalbimi azar azar azar

Dm  Gm  Am
           Azar azar azar

Dm
Tabi her olayda kaçmak geliyor pratik

Kafama neler çarpsan taş ya da granit

Sana geliyor komik ama bana trajik 

Huzur yok artık içinde gram hiç

Bb
O uzun gecelerde
      C                     Dm
Nasıl ağladım be can dayanmadı
              Gm           Am
Dedim onda da kalp var, belki akıllanır

Bb
Bir yanım sana hasta
   C                      Dm
Ne yapsan yine hiç aldırmadı
             Gm          Am
Bir yanım toplanmış, kaçıyor adım adım

Dm   Gm         Am                Dm
Öyle bakma inanırım yalan yalan yalan
     Gm            Am               Dm
Kime sorsam şu halimi harap harap harap
         Gm             Am               Dm
Ölsem de geçmez bir acı bu yakar yakar yakar
      Gm              Am            Dm
Yiyip bitirdi şu kalbimi azar azar azar

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Edis - Azar Azar Tabs

NotesX

Harmony analysis

Edis – Azar Azar: 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.

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: to us the song feels closer to the D minor side because it both starts and finishes on Dm and Dm is heard 26 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	19×
iii	Am	Mediant — a tonic-family shade	A · C · E	22×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	5×
V	C	Dominant — strongest pull home	C · E · G	4×
vi	Dm	Relative minor — the melancholy side	D · F · A	26×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	26×
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	19×
v	Am	Minor dominant — soft pull	A · C · E	22×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	5×
VII	C	Subtonic — steps back to the tonic	C · E · G	4×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 76 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

Am Dm Fiii → vi Dmv → inatural-minor cadence ×19
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4
Bb C FIV → VIV → V DmVI → VIIVI → VII ×4

The move to watch is Am → Dm, heard 19 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
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.

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 Dm lays a solid floor for everything that follows. The backbone is Dm, Am, Gm, Bb — vi–iii–ii–IV from the F side, i–v–iv–VI from the Dm side. 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. It closes on Dm, 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.