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)
Ahmet Parlak - Usta - Chord
Key F major – D minor Chords A, Dm, Gm, Bb Easy key C (capo 5)
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Key: F | Dm
Capo: 0
A Dm
Gün kızıla boyandı ya
Gm A
Tam efkar zamanı
Gm A Dm
İki kadeh mey ver usta
Bb A Dm
Defetsin gönül unutanı
A Dm
Ne hüzünden ne kederden
A Dm
Sırça batmış derinden
Gm A Dm
Vurun sazın telinden
Bb A Dm A
Defetsin gönül sultanı
Gm A
Yanıp yanıp söndürse de
Gm A
Aşk doyumsuz bir silsile
Gm A
Yanıp yanıp söndürse de
Dm
Aşk doyumsuz bir silsile
Dm A
Aşk ağlatır be usta
Bb A
Aşk ağlatır be usta
Gm A
Yanıp yanıp söndürse de
Gm A
Aşk doyumsuz silsile
Gm A
İçim yanar ah her gece
Dm
İnsanı sevdik elbette
Dm A
Aşk güzel şey be usta
Bb A
Aşk güzel şey be usta
Dm A
Ah, aşk güzel şey be usta
Bb A
Aşk güzel şey be usta
Dm A Gm A
End of song Play again?
Ahmet Parlak - Usta Tabs
NotesX
Harmony analysis
Ahmet Parlak – Usta: key and chord analysis
The song opens on A 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 Dm is heard 13 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 | 10× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 23× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 5× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 13× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 13× |
| 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 | 10× |
| 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 | 23× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 5× |
| 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). 4 different chords appear 51 times in total; 3 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 ×11
- Gm A Fii → V/vi Dmiv → Viv → V ×10
The move to watch is A → Dm, heard 11 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 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
Starting on A, the song gives away its key from the very first bar. The backbone is A, Dm, Gm, Bb — V/vi–vi–ii–IV from the F side, V–i–iv–VI from the Dm side. 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. Ending on A, 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.
Ahmet Parlak - Usta 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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