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)
Selda Bağcan - Yalan Dünya (Moğollar) - Chord
Key F major – D minor Chords C, F, G Easy key G
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Key: F | Dm
Capo: 0
C
Bu dünya yalan dünya
F
Yalan, yalan, yalan dünya
C
Bu dünya yalan dünya
F C
Yalan, yalan, yalan dünya
F
Mecnun Leyla'ya vurulmuş
Kerem Aslı'ya kul olmuş
C
Ferhat Şirin'le yoğrulmuş
Arzu'yu Kamber'e vereydin ya
G C
Yalan, yalan, yalan dünya
F
Kimisini ağlatırsın
C
Kimisini güldürürsün
F
Genç yaşlarda öldürürsün
Ölüme çare bulaydın ya
C
Yalan, yalan, yalan dünya
F
Dağların var yüce yüce
Yaylaların koca koca
C
Yalan dünya uçtan uca
Sulh içinde olaydın ya
G C
Yalan, yalan, yalan dünya
F
Biraz umut vermedin ki
Zalimi yere sermedin ki
C
Haktan yana olmadın ki
F
Yüzünü garibe döneydin ya
C
Yalan, yalan, yalan dünya
End of song Play again?
Selda Bağcan - Yalan Dünya (Moğollar) Tabs
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Harmony analysis
Selda Bağcan – Yalan Dünya (Moğollar): key and chord analysis
The song opens on C 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 8 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 | 8× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 2× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 11× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 8× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 2× |
| 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 | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 11× |
Analysis
The key pair is F major and its relative D minor (1 flat). 3 different chords appear 21 times in total; 2 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C F FV → Iauthentic cadence DmVII → III ×8
The move to watch is C → F, heard 8 times. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over G, land on G, B, 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
- 2 semitones up
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The first chord is C; the ear learns where home is within a second. The backbone is C, F, G — V–I–V/V from the F side, VII–III–IV from the Dm side. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. The final chord is C; 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.
Selda Bağcan - Yalan Dünya (Moğollar) 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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