Murat Boz - Herşeyi Yak - Chord

Key F major – D minor Chords Bb, C, Am, Dm, Gm Easy key G

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Capo 0

Bb       Dm          C
Her şeyi yak ateş sende
Bb        Dm           C
Gökyüzüne bak gurur yerde

          Dm                       Am
Sen beni onarıp onarıp neden kırıyorsun
                     Gm                   Am  
Üzerime kokunu bulayıp gitmekten ne anlıyorsun

Dm                    
Bir öyle bir böylesin anlamadım
          C         Am
Seni çözebilen alim olur
    Bb                 Gm
Ben herkesi ben gibi bilirim ama
      C              Am
Kimi senin gibi zalim olur  

Dm                   Bb
Yalanlarla beni kandıramadın
         C         Am
Kalp temiz ya malum olur
       Bb                
Senin adının yazılmadığı
      Gm     C       Bb    Gm
Bu gönülde hak eden daim olur
      C    Bb     Am
Anca hak eden daim olur

End of song Play again?

Murat Boz - Herşeyi Yak Tabs

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Harmony analysis

Murat Boz – Herşeyi Yak: key and chord analysis

The song opens on Bb and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.

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)

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 Dm is heard 5 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	6×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	7×
V	C	Dominant — strongest pull home	C · E · G	7×
vi	Dm	Relative minor — the melancholy side	D · F · A	5×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	5×
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	4×
v	Am	Minor dominant — soft pull	A · C · E	6×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	7×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 29 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

Gm C Fii → Vii → V Dmiv → VII ×3
Bb Dm FIV → vi DmVI → iVI → i ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1

The move to watch is Gm → C, heard 3 times. From the Dm side it is iv → VII; from the F side it reads ii → V (ii → V: the classic preparation of the dominant). 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 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.
Over Am, land on A, C, E — 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

The first chord is Bb; the ear learns where home is within a second. The chords that keep coming back are Bb, C, Am, Dm; read them as IV–V–iii–vi in F or VI–VII–v–i in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. It closes on Am, letting the F 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.