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)
Ferhat Göçer - Devriliyorsam - Chord
Key F major – D minor Chords Dm, A, Gm, Bb, Am, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm
Artık şekersiz içmeye başladım kahveyi
C
Çok düşünüp az konuşuyorum babam gibi
Bb
Yok hayır hiçbiri senle alakalı değil
A
Halin hatrın nasıl diye sordun ondan dedim
Dm
Şimdi adın parkenin üstünde çamurdan iz
Gm
Muhtemelen şu an beni arıyodur polis
Bb
Seni öldürdüm içimde
A
Haberin oldu mu
Dm
Bi kitaba sarılı buluyorum seni
Gm
Mesela geçen radyoda çaldın
Dm
Bu aralar karşılaşıyoruz
A
Hayırdır
Dm
Telefonu kapamadım bi kaç zaman
Gm
Dedim belki bi ara ararsın
Bb
Tüm kalelerimin zaptı olan
A
Kadın aramadın
Dm Am
Devriliyorsam kaldıran olma
Gm A
Bi kere bıraktıysan elimden tutma daha
Dm Am Gm
Sanki yaşım 50'lere dayanıyor gibi
A
Şimdilik sadece bu bozuyor moralimi
End of song Play again?
Ferhat Göçer - Devriliyorsam Tabs
NotesX
Harmony analysis
Ferhat Göçer – Devriliyorsam: key and chord analysis
The song opens on Dm and ends on A. 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)
- #7 = C# (harmonic-minor leading tone from the V chord)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it opens on Dm, Dm is heard 7 times while F never appears and the major V chord points straight at Dm. 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 | 5× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 2× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 6× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 3× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 7× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 7× |
| 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 | 5× |
| v | Am | Minor dominant — soft pull | A · C · E | 2× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 6× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 3× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 24 times in total; 5 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×5
- Gm A Fii → V/vi Dmiv → Viv → V ×2
- Gm Dm Fii → vi Dmiv → iminor plagal ×1
The move to watch is A → Dm, heard 5 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → vi. 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 Dm, land on D, F, A — 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.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
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
The opening Dm lays a solid floor for everything that follows. The chords that keep coming back are Dm, A, Gm, Bb; read them as vi–V/vi–ii–IV in F or i–V–iv–VI in Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is A; 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.
Ferhat Göçer - Devriliyorsam 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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