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)
Yunus Çiftci - Müsadenle - Chord
Key F major – D minor Chords Bbmaj7, Dm7, Am7, C, Gm7 Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Bbmaj7
Ahtım mı var anlamadım
Am7 Dm7 C
Bende beni, yanlış yoldayım
Bbmaj7
Kârdan çok zararı var
Am7 Dm7
Çok fenayım, hiç dokunmayın
Bbmaj7 Gm7 Dm7
Bugünün yarını olacaktır elbet artık anladım
Bbmaj7 Gm7 Dm7
Gidiyor gücüme, üzüle üzüle hep yalanladım
Bbmaj7 Am7
Sayende içime atmışım
Dm7
Hata mı yapmışım meğer
C Bbmaj7
Yolumuz ayrı anladım ve müsaadenle
C Dm7
Gidiyorum uzaklara, sorun yoksa eğer
Am7
Buna değer
x2
Bbmaj7 C Dm7 Am7
x2
Bbmaj7
Gidiyor gücüme
Gm7 Dm7
Üzüle üzüle hep yalanladım
Bbmaj7 Am7
Sayende içime atmışım
Dm7
Hata mı yapmışım meğer
C Bbmaj7
Yolumuz ayrı anladım ve müsaadenle
C Dm7
Gidiyorum uzaklara, sorun yoksa eğer
Am7
Buna değer
x2
End of song Play again?
Yunus Çiftci - Müsadenle Tabs
NotesX
Harmony analysis
Yunus Çiftci – Müsadenle: key and chord analysis
The song opens on Bbmaj7 and ends on Am7. 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 Dm is heard 10 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 | 3× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 7× |
| 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 | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 6× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 10× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 10× |
| 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 | 3× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 7× |
| 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 | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 6× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 36 times in total; 5 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
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×4
- Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×3
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×3
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×3
The move to watch is Am7 → Dm7, heard 4 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → 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 Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — 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 Bbmaj7; the ear learns where home is within a second. The backbone is Bbmaj7, Dm7, Am7, C — IVmaj7–vi7–iii7–V from the F side, VImaj7–i7–v7–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Am7; 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.
Yunus Çiftci - Müsadenle 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: Yunus Çiftci, Oğuz Aşılıoğlu, Eren EdizMusic: Yunus Çiftci, Oğuz Aşılıoğlu, Eren EdizArrangement: Aydın Bayram
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