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)
Murat Boz - İki Medeni İnsan (Soner Sarıkabadayı) - Chord
Key F major – D minor Chords Am, Bb, Gm, Dm, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am
Bölük pörçük hayallerim duruyor önümde
Bb
Sevdiğim kadar sevilmedim
Am
Buram buram kokun hala yatağımın üzerinde
Bb
O da kalmaz gider 3 5 güne
Gm
Bu saatten sonra gönül dakka durmaz
Am
Onca vaadden sonra
Gm Am
Yalancı yalancı sana kimse inanmaz
Dm
Beni sevemedin ya
Bb
Şu belimi bir saramadın ya
C
O zaman en hayırlısı olsun hakkımızda
Am
Git hadi burada durma, ama lütfen kapıyı vurma
Bb
İki medeni insanız biz
C Dm
Bu kadar olsun farkımız da
End of song Play again?
Murat Boz - İki Medeni İnsan (Soner Sarıkabadayı) Tabs
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Harmony analysis
Murat Boz – İki Medeni İnsan (Soner Sarıkabadayı): key and chord analysis
The song opens on Am 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 comes to rest on Dm and Dm is heard 2 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 | 2× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 5× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 4× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi | Dm | Relative minor — the melancholy side | 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 | 2× |
| 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 | 2× |
| v | Am | Minor dominant — soft pull | A · C · E | 5× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 15 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
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
The move to watch is Bb → C, heard 2 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 Am, land on A, C, E — 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 Gm, 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
Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Bb, Gm, Dm — iii–IV–ii–vi from the F side, v–VI–iv–i from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. 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.
Murat Boz - İki Medeni İnsan (Soner Sarıkabadayı) 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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