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)
Burcu Güneş - Yoh Yoh - Chord
Key F major – D minor Chords Dm, C, Csus2, Bb Easy key G
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Key: F | Dm
Capo: 0
Dm Csus2 Dedim kaşın zülfikar mı dedi ki yay Dm Csus2 Dedim cemalin ne güzel dedi ki ay Dm Csus2 Dedim seni seviyorum dedi ki vay Dm Dedim bende gönlün var mı? C Dedi ki yoh yoh Bb Dedi ki yoh yoh C Dedi ki yoh yoh Bb C Dm Dedi ki yoh yoh Dm Csus2 Dedim senin işin nedir dedi seyran Dm Csus2 Dedim sende sevda var mı dedi püryan Dm Csus2 Dedim senin neyin vardır dedi üryan Dm Dedim elde gözün varmı? C Dedi ki yoh yoh Bb Dedi ki yoh yoh C Dedi ki yoh yoh Bb C Dm Dedi ki yoh yoh Dm Csus2 Dedim senin koynun nedir dedi cennet Dm Csus2 Dedim beni sever misin dedi elbet Dm Csus2 Dedim senin yarin kimdir dedi kul Ahmet C Dedim başka yarin var mı C Dedi ki yoh yoh Bb Dedi ki yoh yoh C Dedi ki yoh yoh Bb C Dm Dedi ki yoh yoh
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Burcu Güneş - Yoh Yoh Tabs
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Harmony analysis
Burcu Güneş – Yoh Yoh: 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.
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 14 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| 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 | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 10× |
| Vsus2 | Csus2 | Dominant — strongest pull home | C · D · G | 9× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 14× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 14× |
| 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 | — |
| 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 | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 10× |
| VIIsus2 | Csus2 | Subtonic — steps back to the tonic | C · D · G | 9× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 39 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
- Csus2 Dm FVsus2 → vi DmVIIsus2 → iAeolian arrival ×8
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×6
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×3
The move to watch is Csus2 → Dm, heard 8 times. From the Dm side it is VIIsus2 → i (Aeolian arrival: rises a whole tone into home); from the F side it reads Vsus2 → 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Csus2, land on C, D, G — 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
Starting on Dm, the song gives away its key from the very first bar. Dm, C, Csus2, Bb carry the song: vi–V–Vsus2–IV relative to F, i–VII–VIIsus2–VI relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Csus2 → Dm (Vsus2 → vi in F, VIIsus2 → 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.
Burcu Güneş - Yoh Yoh 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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