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)
Mor ve Ötesi - Yorma Kendini - Chord
Key F major – D minor Chords Gm, Bb, C, F, D Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Gm Bb F Ben sana bir şey söylesem C Sen beni sadece dinlesen Gm Bb C Aklını kalbine örtmesen duysan olur mu Gm Bb F Her şey görece ve her şey mutlak C İkisi beraber çok muğlak Gm Bb C Eğlenelim hadi eğlenelim, peki kim biliyor, kim biliyor Gm Bb C Yorma kendini yollar aynı yanlışlar da Gm Bb C D Yarışır gibi bir annenin kollarında Gm Bb C Yorma kendini yorma aynı yanlışlarla Gm Bb F D Her şey geçer, altı üstü bir eğlence Gm Bb C Oooo oooo Gm Bb Sen bana bir şey söylesen C Ben seni sadece dinlesem Gm Bb C Aklına geleni söylesen nasıl olurdu Gm Bb F Her şey görece ve her şey mutlak C İkisi beraber çok muğlak Gm Bb C Eğlenelim hadi eğlenelim, peki kim biliyor, kim biliyor
End of song Play again?
Mor ve Ötesi - Yorma Kendini Tabs
NotesX
Harmony analysis
Mor ve Ötesi – Yorma Kendini: key and chord analysis
The song opens on Gm and ends on C. 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 F major side because F is heard 4 times while Dm never appears. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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 | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 13× |
| 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 | 13× |
| V | C | Dominant — strongest pull home | C · E · G | 12× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| V/ii | D | Secondary dominant V/ii — leads to Gmsecondary dominant | D · F# · A | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| V/iv | D | Secondary dominant V/iv — leads to Gmsecondary dominant | D · F# · A | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 13× |
| 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 | 13× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 12× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 44 times in total; 4 of them sit naturally inside the shared scale. D acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×9
- Bb F FIV → Iplagal cadence DmVI → III ×4
The move to watch is Bb → C, heard 9 times. From the F side it reads IV → V (IV → V: the lift that builds tension before home); from the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic). 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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.
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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is Gm; the ear learns where home is within a second. The backbone is Gm, Bb, C, F — ii–IV–V–I from the F side, iv–VI–VII–III from the Dm side. D adds a moment of surprise: secondary dominant V/ii — leads to Gm. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): IV → V — the lift that builds tension before home. Ending on C, 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.
Mor ve Ötesi - Yorma Kendini 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.