Yol'a Düş - Böyle Olur Mu - Chord

Key F major – D minor Chords Am, F, Dm, Bb, Gm Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

Am  F  Dm  Bb  Gm  Am

Am
Beni ağlattın güzel, derde bağlattın güzel
         F       Dm            Bb
Ele bıraktın güzel, böyle olur mu
Gm         Am
Böyle olur mu

Am  F  Dm  Bb  Gm  Am

Am
Dereler çağlar oldu, gözlerim ağlar oldu
           F      Dm            Bb
Gelmedin aylar oldu, böyle olur mu
Gm         Am
Böyle olur mu

Am  F  Dm  Bb  Gm  Am

Am
Attın gurbet ellere, bıraktın yad ellere
               F     Dm           Bb
Saldın dilden dillere, böyle olur mu
Gm         Am
Böyle olur mu

End of song Play again?

Yol'a Düş - Böyle Olur Mu Tabs

NotesX

Harmony analysis

Yol'a Düş – Böyle Olur Mu: key and chord analysis

The song opens on Am 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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.

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	6×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	12×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	6×
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	6×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	6×
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
v	Am	Minor dominant — soft pull	A · C · E	12×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	6×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 36 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

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 Am, land on A, C, E — 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.
Over Dm, land on D, F, A — 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

The first chord is Am; the ear learns where home is within a second. The chords that keep coming back are Am, F, Dm, Bb; read them as iii–I–vi–IV in F or v–III–i–VI in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.