Ayaz Erdoğan - Desene Günaydın - Chord

Key F major – D minor Chords Am, Bbmaj7, Gm Easy key C (capo 5)

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Capo 0

Am  Bbmaj7  Gm  Am

Am              Bbmaj7
Sormadın, neyin var neyin yok
   Gm                Am
İkimiz şimdi düşman mı olduk

Am                      Bbmaj7
Her yanım acıyor, her yanım sen korkarken
  Gm               Am
Nasılda kolay unutuluyor

Am  Bbmaj7  Gm  Am

Am
Nasılım diye sorma, gönlüm hep sana dargın
Bbmaj7
Almadın beni kaale
Gm
Sözünü tutamadın, ardında yaralayıp
Am
Gidicem hangi yöne

Am
Bi yanım olsaydın, niye hep yok saydın
Bbmaj7
Sen değil misin çarem
Gm
Bi sana yandım ölüp
       Am        
Döndüm çöle

Am           Bbmaj7
Dur, yanımda kal artık
          Gm
Bi başıma yandım
         Am
Ölüyorum anla

Am             Bbmaj7
Kal, desene günaydın
           Gm
Bi başıma uyandım
         Am
Ölüyorum anla

Am                      Bbmaj7
Senden sonra her günüm, birer birer heba oldu
Gm                 Am
Geri gelir mi yıllarım

Am                      Bbmaj7
Kapına kadarda geldim ben elimde bir hediye
Gm
Bi başkası için yakma beni
Am
Dönücem deliye

Am
Sustum anlatmadım kimseye
Bbmaj7
Kötü bilmesinler
Gm                         Am
Sende kalsın ayıpların gelene

O sevmedi de

Am           Bbmaj7
Dur, yanımda kal artık
          Gm
Bi başıma yandım
         Am
Ölüyorum anla

Am             Bbmaj7
Kal, desene günaydın
           Gm
Bi başıma uyandım
         Am
Ölüyorum anla

End of song Play again?

Ayaz Erdoğan - Desene Günaydın Tabs

NotesX

Harmony analysis

Ayaz Erdoğan – Desene Günaydın: 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.

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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.

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	13×
iii	Am	Mediant — a tonic-family shade	A · C · E	26×
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	13×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	—
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	—
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	26×
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	13×
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). 3 different chords appear 52 times in total; 3 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

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 Am, land on A, C, E — 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.
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 Am lays a solid floor for everything that follows. The backbone is Am, Bbmaj7, Gm — iii–IVmaj7–ii from the F side, v–VImaj7–iv from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Am; the ear comes to rest in F.

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.