Major view
A major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = G# (leading tone, pulls home)
- 4 = D (the note that leans on the 3rd)
Moğollar - Dinleyiverin Gari - Chord
Key A major – F# minor Chords F#m, E, A, G Easy key G (capo 2)
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Key: A | Gbm | F#m
Capo: 0
Baylar bayanlar kayacak merdiven bulamayanlar Sizlere bir manimiz var dinleyiverin gari F#m F#m G F#m E F#m G F#m E Paralar oldu yeşil money F#m E Tanımıyor engel mani F#m E Yok insafı imanı F#m E Bol keriz bol enayi F#m E F#m Götüveriler gari, gari de gari gari F#m E Gemisini kurtaran F#m E Fedakar ve cefakar F#m E Kaptanın yüzdüğü deniz F#m E Biziz abicim biziz F#m E F#m Yüzdürmeyin gari, gari de gari gari A F#m Kıl olmadan dinleyiverin gari, gari de gari A F#m Hayret birşey oluvermeyin gari, gari de gari A F#m Zilleri takıverip oynayıverin gari, gari de gari A F#m Şıkıdımda mıkıdım şıkıdım mıkıdım gari, gari de gari F#m E Dul hakkı yetim hakkı F#m E Palavradır palavra F#m E Niyazidir şehitler F#m E Sızlamaz mı o kemikler F#m E F#m İnilerler gari, gari de gari gari F#m E Yeşili inekler yedi F#m E Denizide timsahlar F#m E Hazineyi yamyamlar F#m E Memleketin içine F#m E F#m Ediverdiler gari, gari de gari gari A F#m Kıl olmadan dinleyiverin gari, gari de gari A F#m Hayret birşey oluvermeyin gari, gari de gari A F#m Zilleri takıverip oynayıverin gari, gari de gari A F#m Şıkıdımda mıkıdım şıkıdım mıkıdım gari, gari de gari F#m E Ne şiş yansın ne kebap F#m E Diye diye olduk harap F#m E Kalmadı başka örecek çorap F#m E Yarab bizim başlara F#m E F#m Akıl veriver gari, gari de gari gari F#m E Şimdi eller havada F#m E Oylar yandı tavada F#m E Yok eksilme cakada F#m E Cek caklı vaatlere F#m E F#m Tok karnımız gari, gari de gari gari A F#m Kıl olmadan dinleyiverin gari, gari de gari A F#m Hayret birşey oluvermeyin gari, gari de gari A F#m Zilleri takıverip oynayıverin gari, gari de gari A F#m Şıkıdımda mıkıdım şıkıdım mıkıdım gari, gari de gari
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Moğollar - Dinleyiverin Gari Tabs
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Harmony analysis
Moğollar – Dinleyiverin Gari: key and chord analysis
The song opens on F#m and ends on F#m. Its chords belong to both A major and F#m, so every chord below is read both ways.
Minor view
F# minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = D (the minor's melancholy)
- b7 = E (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the F# minor side because it both starts and finishes on F#m and F#m is heard 52 times against 12 for A. That is an interpretation, not a rule — the same chords are just as valid seen from A 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 A or to F#m; 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 | A | Tonic — home | A · C# · E | 12× |
| ii | Bm | Supertonic — prepares the dominant | B · D · F# | — |
| iii | C#m | Mediant — a tonic-family shade | C# · E · G# | — |
| V/vi | C# | Secondary dominant V/vi — leads to F#msecondary dominant | C# · E# · G# | — |
| IV | D | Subdominant — moves away from home | D · F# · A | — |
| V | E | Dominant — strongest pull home | E · G# · B | 31× |
| vi | F#m | Relative minor — the melancholy side | F# · A · C# | 52× |
| bVII | G | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | G · B · D | 2× |
| vii° | G#dim | Leading-tone chord — tension | G# · B · D | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | F#m | Tonic — home | F# · A · C# | 52× |
| bII | G | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | G · B · D | 2× |
| ii° | G#dim | Supertonic — prepares the dominant | G# · B · D | — |
| III | A | Relative major — the bright side | A · C# · E | 12× |
| iv | Bm | Subdominant — moves away from home | B · D · F# | — |
| v | C#m | Minor dominant — soft pull | C# · E · G# | — |
| V | C# | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | C# · E# · G# | — |
| VI | D | Submediant — warm colour | D · F# · A | — |
| VII | E | Subtonic — steps back to the tonic | E · G# · B | 31× |
Analysis
The key pair is A major and its relative F# minor (3 sharps). 4 different chords appear 97 times in total; 3 of them sit naturally inside the shared scale. G is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- E F#m AV → videceptive cadence F#mVII → iAeolian arrival ×31
The move to watch is E → F#m, heard 31 times. From the F#m side it is VII → i (Aeolian arrival: rises a whole tone into home); from the A side it reads V → vi (deceptive cadence: expected A, lands on F#m). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- A major pentatonic and F# minor pentatonic are the same five notes (A – B – C# – E – F#): start from A for a brighter phrase, from F# for a bluesier one.
- Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over A, land on A, C#, E — the chord's own tones always sound right on strong beats.
- On G, follow the chord's notes (G · B · D) rather than the key's scale — it's a borrowed colour.
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 A major shapes
- No capo — open A shapes
- Capo 2 + G shapes
- Capo 5 + E shapes
With F# minor shapes
- Capo 2 + Em shapes
- Capo 4 + Dm shapes
Easiest keys on guitar
- 2 semitones down · capo 2 keeps the original pitch
- 3 semitones up
The song's harmonic story
The first chord is F#m; the ear learns where home is within a second. The chords that keep coming back are F#m, E, A, G; read them as vi–V–I–bVII in A or i–VII–III–bII in F#m. G briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on E → F#m (V → vi in A, VII → i in F#m): Aeolian arrival — rises a whole tone into home. It closes on F#m, letting the F#m 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.
Moğollar - Dinleyiverin Gari 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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