Ece Seçkin - Kör - Chord

Key F major – D minor Chords Dm, C, Gm, F Easy key G

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Capo 0

Dm  F  C  Dm

Dm                                 Gm
Bir öpücükle kandırdın beni tekrardan
C                               Dm
İnan ki yüreğimi çıkarmak zordu enkazdan
                                   Gm
Seni görene dek her bulunduğum yer deplasman
C                                Dm
Bu gece benimle kalırsan ne olur en fazla

Dm                             Gm
Kesmiyor konuşmak saatlerce şu telefonda
  C                              Dm
Aldatalım güneşi yıldızlarla gel balkonda
                                      Gm
Gidelim adalara bir fotoğraf paylaşıp faytonda
  C                                   Dm
Altına yazalım; aşk yaşanmıyor sadece Bodrumda

Dm
Yıkarım kale her yeri dağıtıp
Gm
Dalarım dibe yüzmeyi bilmeden
C                         Dm
Batarım yine uğruna oldum kör

Saparım yanlışlara yarim
Gm
Ararım seni gerçeği duymadan
C                         Dm
Kanarım yine uğruna oldum kör

Çıkarım göğe kanlı ve canlı
Gm
Çakılıyım yere uçmayı istemem
C                         Dm
Kaparım gözü uğruna oldum kör

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Ece Seçkin - Kör Tabs

NotesX

Harmony analysis

Ece Seçkin – Kör: 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 12 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	1×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	7×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	8×
vi	Dm	Relative minor — the melancholy side	D · F · A	12×
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	12×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	1×
iv	Gm	Subdominant — moves away from home	G · Bb · D	7×
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	—
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	8×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 28 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

C Dm FV → videceptive cadence DmVII → iAeolian arrival ×8
Gm C Fii → Vii → V Dmiv → VII ×7

The move to watch is C → Dm, heard 8 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). 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 C, land on C, E, G — 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

2 semitones up
5 semitones down · capo 5 keeps the original pitch

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, C, Gm, F; read them as vi–V–ii–I in F or i–VII–iv–III in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. Ending on Dm, the song seals Dm 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.