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)
Aleyna Tilki - Canımın Yarısı - Chord
Key F major – D minor Chords Bb, Dm, Gm, A, Am, F, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bb Dm Gm A
Bb Dm
Sonunda dağıttım
Gm A
Sonuma yaklaştım mı
Bb Dm
Anladım artık günler geçmiyo
Gm A
Canımın yarısı kaldı
Bb
Sen gittiğin günden beri
Dm
Var göğsümde bir boşluk, bi boşluk
Gm
Unuttum seni ama
A
Eksilttiklerin hep satıldı, bana ne kaldı
Bb
Anlatcak hikayemiz bile yokmuş
Dm
Yeni anladım, anladım
Gm
Hep yasak kaçak göçek karanlık
A
Karanlık bulanık kaldı, tüm çocukluğum
F
Sen hep dedin bunun adını koy
Am
Sevgilim değildin düşmanım değildin
Bb
Arkadaşım değildin, bilemedim neyimdin
Am Bb C
Bilemedim neyimdiiiiiiin
F
Sen hep dedin bunun adını koy
Am
Sevgilim değildin düşmanım değildin
Bb
Arkadaşım değildin, bilemedim neyimdin
Am F
Bilemedim neyimdiiiin
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Aleyna Tilki - Canımın Yarısı Tabs
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Harmony analysis
Aleyna Tilki – Canımın Yarısı: key and chord analysis
The song opens on Bb and ends on F. 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: we can't honestly pick a side here — the song moves freely between F major and D minor because it comes to rest on F, Dm is heard 5 times against 3 for F and the major V chord points straight at Dm. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 3× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 5× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 4× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 5× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 8× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 5× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 5× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 3× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 5× |
| v | Am | Minor dominant — soft pull | A · C · E | 4× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 5× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 8× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 31 times in total; 6 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 A is V/vi, a secondary dominant heading for Dm.
Chord movement
- Bb Dm FIV → vi DmVI → iVI → i ×5
- Gm A Fii → V/vi Dmiv → Viv → V ×5
- C F FV → Iauthentic cadence DmVII → III ×1
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×1
The move to watch is Bb → Dm, heard 5 times. From the F side it reads IV → vi; from the Dm side it is VI → i (VI → i: falls a half step into home). 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- 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.
- When A 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
Starting on Bb, the song gives away its key from the very first bar. The backbone is Bb, Dm, Gm, A — IV–vi–ii–V/vi from the F side, VI–i–iv–V from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Bb → Dm (IV → vi in F, VI → i in Dm): VI → i — falls a half step into home. Ending on F, the song seals F 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.
Aleyna Tilki - Canımın Yarısı 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: Aleyna TilkiMusic: Aleyna Tilki
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