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)
Röya - Baldır Yar - Chord
Key F major – D minor Chords Dm7, Bbmaj7, Gm7, Am7, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm7 Gm7 Am7 Bbmaj7 Dm7
x2
Dm7 Bbmaj7
Nə deyim indi, hansı tərəfə getdin?
C Dm7
Gözləyirəm, xəbər çıxmadı
Bbmaj7
Elə xoşbəxtdir, gətirdi bəxtim
C Dm7
Üzümə gülüb evimi yıxmadı
Gm7 Am7
Bizdən ayrı ayrı olmaz, eyləmə
C Bbmaj7
Küsmə, incimə, “gedirəm”, söyləmə
Gm7 Am7
Zəngimi aç, mesajlarıma cavab yaz
Bbmaj7 Dm7
Məndən olsa, ömür boyu gözlərəm
Dm7
Sənin sözün zəhər deyil
Gm7
Baldır, baldır, baldır, yar
Am7
Baxışların məni məndən
Bbmaj7 Dm7
Aldı, aldı, aldı, yar
Gm7
İntizarın ağır gəlir qəlbimə, qəlbimə
Am7
Gözləyirəm, görən, harada
Bbmaj7 C Dm7
Qaldı, qaldı, qaldı yar?
Dm7 Gm7 Am7 Bbmaj7 Dm7
x2
Dm7
Sənin sözün zəhər deyil
Gm7
Baldır, baldır, baldır, yar
Am7
Baxışların məni məndən
Bbmaj7 Dm7
Aldı, aldı, aldı, yar
Gm7
İntizarın ağır gəlir qəlbimə, qəlbimə
Am7
Gözləyirəm, görən, harada
Bbmaj7 C Dm7
Qaldı, qaldı, qaldı yar?
End of song Play again?
Röya - Baldır Yar Tabs
NotesX
Harmony analysis
Röya – Baldır Yar: key and chord analysis
The song opens on Dm7 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 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 | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 8× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 8× |
| 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 | 5× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 14× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 14× |
| 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 | 8× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 8× |
| 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 | 5× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 45 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
- Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×5
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×4
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×4
The move to watch is Bbmaj7 → Dm7, heard 5 times. From the Dm side it is VImaj7 → i7 (VI → i: falls a half step into home); from the F side it reads IVmaj7 → 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 Bbmaj7, land on Bb, D, F — 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.
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 Dm7; the ear learns where home is within a second. Dm7, Bbmaj7, Gm7, Am7 carry the song: vi7–IVmaj7–ii7–iii7 relative to F, i7–VImaj7–iv7–v7 relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → Dm7 (IVmaj7 → vi7 in F, VImaj7 → i7 in Dm): VI → i — falls a half step into home. 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.
Röya - Baldır Yar 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: Həmid MəmmədliMusic: Vüsal Həsənov
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