Eda Baba - Sonbahar - Chord

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

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Capo 0

Dm   Am   Bb   A

Dm         Am               Bb                A               Dm
Düştü elleri içimdeki boşluğa, su titredi, yaprak oynadı dalında
          Am                Bb               A
Kesti elimi yüzündeki kirpiği, kalbimde bir çiçek açtı yine

Dm                       C
Bir rüya olmalı gördüğüm, gördüğüm bir rüya olmalı
Bb                A
Belki de belki de hiç uyandırmamalı
Dm                        C
Sonbahar, sonbahar olmalı, sebebi sebebi sonbahar
Bb              A
Sonbahar sonbahar korkmuyorum hiç

Dm        C
Başla hadi, sar karanlığına beni
Bb                  A
Al en derinine hadi, sar bi kere sar bi kere
Dm        C
Başla hadi, vur yalnızlığınla beni
Bb                          A
Yerden yere yerden yere hadi, vur bi kere vur bi kere

Dm      C
Başla yıka yağmurunlarında beni
  Bb                       A     Dm
Islat yine ıslat yine hadi aaaanlaat
   C
Kaybet kaldırımlarında beni
Bb        Am                      Dm
Yürüt üşüt, korkmuyorum, korkmuyorum

End of song Play again?

Eda Baba - Sonbahar Tabs

NotesX

Harmony analysis

Eda Baba – Sonbahar: 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.

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)
#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 both starts and finishes on Dm, Dm is heard 10 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	4×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	8×
IV	Bb	Subdominant — moves away from home	Bb · D · F	9×
V	C	Dominant — strongest pull home	C · E · G	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	10×
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	10×
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	—
v	Am	Minor dominant — soft pull	A · C · E	4×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	8×
VI	Bb	Submediant — warm colour	Bb · D · F	9×
VII	C	Subtonic — steps back to the tonic	C · E · G	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 37 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 ×8
Am Dm Fiii → vi Dmv → inatural-minor cadence ×1

The move to watch is A → Dm, heard 8 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 Bb, land on Bb, D, F — 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.
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

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. Dm, Bb, A, C carry the song: vi–IV–V/vi–V relative to F, i–VI–V–VII 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 Dm, letting the Dm 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.