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)
Melis Karaduman - Ateşi Yak - Chord
Key F major – D minor Chords Dm, Gm, A7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Dm Gm A7
x2
Dm
Yak sigaranı alev alev
Gm A7
Babylon duvarları duman
Dm
Sen o ateşi yak
Gm A7
Yıkılır kale, ateş içinde küllerle
Sen o ateşi yak
Dm Dm Gm A7
(Tüm şarkı boyunca aynı akor döngüsü devam eder)
Bu kez beni alttan alın
Brooklyn'in köyü ben alt tabanım
Misal Mos Def uzaktan akrabamız
Ve olur hep bi' köşede plakalarımız
İnatla dağınık tipi dili inatla bağırır
Bu yaşta halatla ip atla artık
Üçe beş katıp iyi laf yaparım
Ekip Konya'lı iki Kürt rastalı
Ey, ey, bi' de İskenderun
Bir çiftli dene o bir de içmem durup
Or'da içler buruk bilinçler dolu
Bi' nesil yetişiyo' sokaktan kopuk
Sokakta rahat değil dolu paparoz
Kafanı dağıtı'cak bi' konu falan olsun
Bu şey sana bi' üçlü bana bi' dolu kavanoz
Dilin sürçse ismin Aga B falan olur
Kafanı sarman olur Suppa istasyon
Ve Voodoo first class tatlım kıstas yok
Funk'd Up Murder, Ais'ta bi' saç boğumu
E hadi bizi geç ganja bizzat doğulu ey
Yak sigaranı alev alev
Babylon duvarları duman, sen o ateşi yak
Yıkılır kale, ateş içinde küllerle, sen o ateşi yak
Parçaya bak aga ganja yakak
Kederi derdi yalan olur sıkıntı anca ayak
Gene de kanka yavaş, acele harcama ya
Zulanı sakla kenara bi' yere ya da bi' çantaya at
Kafa dolsun
Yeniden, bide bakarsın gecenin alaca karanlığına sonra
Sabah olmuş
Yeniden, güneşin ateşine kalk
Babylon ortasında ben, lirikal militan
Savaş ortamında dilim, kritikal bir silah
Adalet iste çünkü, bur'da kimi aç, kimi kral
Faşizmin dilini tel yap onu bi' gitar gibi çal
Kafam güzel gezelim Ankara'da yelkenliyle
Senin de öyleyse dumanla eğlen şimdi
Bur'da dur ve gel sen bizle
Ateşi yakman için hiç bi' zaman erken değildir
Yak sigaranı alev alev
Babylon duvarları duman, sen o ateşi yak
Yıkılır kale, ateş içinde küllerle, sen o ateşi yak
Yak sigaranı alev alev
Babylon duvarları duman, sen o ateşi yak
Yıkılır kale, ateş içinde küllerle, sen o ateşi yak
Sen o ateşi yak
Sen o ateşi yak
Sen o ateşi yak
End of song Play again?
Melis Karaduman - Ateşi Yak Tabs
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Harmony analysis
Melis Karaduman – Ateşi Yak: key and chord analysis
The song opens on Dm and ends on A7. 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 it opens on Dm, Dm is heard 6 times while F never appears and 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 4× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 4× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| 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 | 4× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 4× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| 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 14 times in total; 2 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 A7 is V7/vi, a secondary dominant heading for Dm.
Chord movement
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×4
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×3
The move to watch is Gm → A7, heard 4 times. From the Dm side it is iv → V7 (iv → V: the minor side's tension builder); from the F side it reads ii → V7/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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- When A7 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
- 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. Dm, Gm, A7 carry the song: vi–ii–V7/vi relative to F, i–iv–V7 relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gm → A7 (ii → V7/vi in F, iv → V7 in Dm): iv → V — the minor side's tension builder. The final chord is A7; 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.
Melis Karaduman - Ateşi Yak 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: Sercan İpekçioğluMusic: Onur Arslan
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