Kıraç - Makaram Sarı Bağlar - Chord

Key F major – D minor Chords Gm, Cm, F Easy key G

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Capo 0

Gm
Makaram sarı bağlar lo
Cm             Gm
Kız söyler gelin ağlar

Cm
Niye ben ölmüş müyem lo
Gm
Asyam karalar bağlar

Gm
Löperde löperde
Cm
Zülfün yüzüne perde
            Gm
Devriyeler sardıda bizi
F        Gm
Meğer kaderim böyle     

Gm
Makaramda ipliğim lo
Cm           Gm
Asyam benim kekliğim

Cm
Hiç aklımdan çıkmıyor lo
Gm
Tenhalarda gezdiğim

Gm
Löperde löperde
Cm
Zülfün yüzüne perde
            Gm
Devriyeler sardıda bizi
F        Gm
Meğer kaderim böyle

End of song Play again?

Kıraç - Makaram Sarı Bağlar Tabs

NotesX

Harmony analysis

Kıraç – Makaram Sarı Bağlar: key and chord analysis

The song opens on Gm and ends on Gm. 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 F major side because F is heard 2 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	2×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	12×
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	—
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	—
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	—
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	2×
iv	Gm	Subdominant — moves away from home	G · Bb · D	12×
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	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 3 different chords appear 20 times in total; 2 of them sit naturally inside the shared scale. Cm step outside the scale as colour chords.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Cm, land on C, Eb, 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.

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

Starting on Gm, the song gives away its key from the very first bar. Gm, Cm, F carry the song: ii–v–I relative to F, iv–vii–III relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Ending on Gm, 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.