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)
Anıl Durmuş - Yazık - Chord
Key F major – D minor Chords Dm7, Gm7, Am7, Bbmaj7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Gm7 Dm7
Bu kadarım işte, rüzgar esse kırılırım
Am7 Dm7
Zor dayandım, gidersen darılırım
Gm7
Bi’ daha zor sarılırım
Dm7
Aynıyım yanılırım
Am7
Ama insanım ya işte
Dm7
Elbet dayanırım
Dm7 Bbmaj7
Sen de geç kalırsın artık anladım niye
Am7 Gm7 Dm7
Zor dayandım ah dayan diye
Gm7 Bbmaj7
Ben de son acım sanardım ah zarar niye
Am7 Gm7 Dm7
Gidince anladım kalan ile
Gm7
Sen gittin günaydın
Dm7
Elimden bi’ şey gelmez
Am7
Dövündüğüme bakma
Dm7
Ağlar susarım
Gm7 Dm7
Ne günah sayarım, güldüğünü anarım
Am7 Dm7
Kendime kızarım, ah yanarım yanarım
Dm7 Bbmaj7
Sen de geç kalırsın artık anladım niye
Am7 Gm7 Dm7
Zor dayandım ah dayan diye
Gm7 Bbmaj7
Ben de son acım sanardım ah zarar niye
Am7 Gm7 Dm7
Gidince anladım kalan ile
Dm7 Bbmaj7
Son deminde gördüğün en son şeyler çizik
Am7 Gm7 Dm7
Beni var eden yok eder yazık
Bbmaj7
Sen benimlesin ama gül yüzün neden asık?
Am7 Gm7 Dm7
Sana da yazık, bana da yazık
End of song Play again?
Anıl Durmuş - Yazık Tabs
NotesX
Harmony analysis
Anıl Durmuş – Yazık: key and chord analysis
The song opens on Gm7 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 comes to rest on Dm and Dm is heard 17 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 12× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 10× |
| 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 | 6× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 17× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 17× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 12× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 10× |
| 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 | 6× |
| 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). 4 different chords appear 45 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
- Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×10
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×4
The move to watch is Gm7 → Dm7, heard 10 times. From the Dm side it is iv7 → i7 (minor plagal: deep and melancholic); from the F side it reads ii7 → vi7. 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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 first chord is Gm7; the ear learns where home is within a second. The backbone is Dm7, Gm7, Am7, Bbmaj7 — vi7–ii7–iii7–IVmaj7 from the F side, i7–iv7–v7–VImaj7 from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → Dm7 (ii7 → vi7 in F, iv7 → i7 in Dm): minor plagal — deep and melancholic. 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.
Anıl Durmuş - Yazık 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: Azel BertMusic: Azel BertArrangement: Azel Bert
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