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)
Yol'a Düş - Gel Gör ki - Chord
Key F major – D minor Chords A, Dm, Bb, Gm, A# Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Dm A# Gm A
A Dm
Sen gidersen bu şehirden
A
Ayrılık üstüne siner
Bb
Sızım yükselir derinden
Gm Bb Dm
Mesafemiz uzar gider
A
Sızım yükselir derinden
Bb Gm A
Mesafemiz uzar gider oy
A Dm
Gel gör ki çok pişmanım
A
Gel gör ki perişanım
Bb
Yaralarım durmaz kanar
Gm Bb
Ateşlerde yanarım
Dm A
Yaralarım durmaz kanar
Bb A
Ateşlerde yanarım
Dm Dm A# Gm A
A Dm
Yar sırtını döndüğün anda
A
Tebessüm haram yüzüme
Bb
Kanım inler damarımda
Gm Bb Dm
Çiğnenir yazık gönlümee
A
Kanım inler damarımda
Bb Gm A
Çiğnenir yazık gönlüme oy
A Dm
Gel gör ki çok pişmanım
A
Gel gör ki perişanım
Bb
Yaralarım durmaz kanar
Gm Bb
Ateşlerde yanarım
Dm A
Yaralarım durmaz kanar
Bb A
Ateşlerde yanarım
Kim öğretti bize seveni sevgisizlikle cezanlandırmayı
Bir yok oluştan fotoğraf gülümsemesi yaratmayı
Sahi sevilmek tanımadığın bir yürekte
Yok eder mi sevgini içinde
Herkes sevdiği kadar sevilmez
Herkes sevildiği kadar severmiş
Yaptıkların para etmez
Yapmadıkların biletini kesermiş
Ne yapsan ne etsen de insan değişmez
Aşk uğruna kimse kendinden vazgeçmezmiş
Gülse de acı çekse de dönmezmiş
End of song Play again?
Yol'a Düş - Gel Gör ki Tabs
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Harmony analysis
Yol'a Düş – Gel Gör ki: 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 12 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 | 8× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 18× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 12× |
| IV | A# | Subdominant — moves away from home | A# · D · E# | 2× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 12× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 12× |
| 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 | 8× |
| 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 | 18× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 12× |
| VI | A# | Submediant — warm colour | A# · D · E# | 2× |
| 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 52 times in total; 4 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 ×4
- Bb Dm FIV → vi DmVI → iVI → i ×4
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 A, land on A, C#, E — 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.
- Over Bb, land on Bb, D, F — 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
Starting on Dm, the song gives away its key from the very first bar. A, Dm, Bb, Gm carry the song: V/vi–vi–IV–ii relative to F, V–i–VI–iv relative to 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. It closes on A, 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.
Yol'a Düş - Gel Gör ki 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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Lyrics: Soner AvserenMusic: Soner Avseren
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