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)
Can Yüce - Gönül Koyma (Umut Timur) - Chord
Key F major – D minor Chords Dm, Gm, Bb Easy key G
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Key: F | Dm
Capo: 0
Dm Gm Bb Dm
Koştum deli gibi düştüğümü fark etmedim
Gm Bb Dm
Yanına kadar sokuldum varlığımı fark etmedin
Gm Bb Dm
Sonradan anlaşılmak terapiyi etkilemiyor
Gm Bb Dm
Yola çıkalı oldu ama bu trafik bitmiyor
Dm Gm Bb Dm
Kalbimi defter gibi karalayan çok oldu
Gm Bb Dm
Ben cümleme başlamadan noktayı koydu
Dm Gm Bb Dm
Gönül koyma ne ektim nede biçtim gün yüzü yok bana
Gm Bb Dm
Sorunu nedir, büyüdüm yanlışı doğru algılayınca
Gm Bb Dm
Heves kursağımda kanadım kırık haber verin kuşlara
Gm Bb Dm
Rahatsız ettiysem kusura kalmaaaa
Dm
Beni de gör güldür tanrım
Gm Bb
Defalarca öldüm sandım
Dm
Dönmüyor adalet çarkı
Gm Bb
Öldürüyor bir kulunun aşkı
Dm Gm Bb
Suçu yoktu anıların yine de geçmişi karaladım
Dm Gm Bb
Karanlıkta umutlarım yine de hiç birini unutmadım
Dm Gm Bb
Umudu sensin yarınların dünde bıraktım bak kalanları
Dm Gm Bb
Bugünde anladım yalanları dost görünen o yılanları
Dm Gm Bb Dm
Kalbimi defter gibi karalayan çok oldu
Gm Bb Dm
Ben cümleme başlamadan noktayı koydu
End of song Play again?
Can Yüce - Gönül Koyma (Umut Timur) Tabs
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Harmony analysis
Can Yüce – Gönül Koyma (Umut Timur): key and chord analysis
The song opens on Dm and ends on Dm. 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)
Which side does the ear lean to?
Our reading: to us the song feels closer to the D minor side because it both starts and finishes on Dm and Dm is heard 22 times while F never appears. 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 | 18× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 18× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 22× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 22× |
| 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 | 18× |
| 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 | 18× |
| 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). 3 different chords appear 58 times in total; 3 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
- Bb Dm FIV → vi DmVI → iVI → i ×18
The move to watch is Bb → Dm, heard 18 times. From the Dm side it is VI → i (VI → i: falls a half step into home); from the F side it reads IV → 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 Gm, land on G, Bb, D — 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.
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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The backbone is Dm, Gm, Bb — vi–ii–IV from the F side, i–iv–VI from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → Dm (IV → vi in F, VI → i in Dm): VI → i — falls a half step into home. Ending on Dm, the song seals Dm 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.
Can Yüce - Gönül Koyma (Umut Timur) 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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