Hayko Cepkin - Dans Et - Chord

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

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Capo 0

Dm  Gm  Bb  A

Dm           Bb          Gm
Kim olduğumu, ne olduğumu
          A
Bilip görmeden sevdin
Dm              Bb             Gm
Bir şansım olsa, neler dilerdim
            A
Mutlu edebilmek için

Dm           Gm          Bb
Hep yanimda ol, o bile şans
              A
Yanlız kalmam çok zor
Dm          Gm           Bb
Belki tükettim, gençliğini
             A          Dm
Çok özür dilerim, pardoon

Dm        Bb            Gm
Gördüğünüz mapus bedenim
           A
Prangam sadece beynim
Dm           Bb           Gm
Hayat sahnesi dram da olsa
              A
Bu kez söz güleceğim

Dm               Gm
Dans et, benimle dans et
Bb                A
Tut şu elimden kurtar dertlerimden

Dm               Gm
Dans et, benimle dans et
Bb                  A           Dm
Kimse etmezken, sen tut şu elimden 

Dm            Bb
Ne olur dans et
Gm
Kimse etmezken
Dm 
Mamo

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Hayko Cepkin - Dans Et Tabs

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Harmony analysis

Hayko Cepkin – Dans Et: 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 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.

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	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	9×
IV	Bb	Subdominant — moves away from home	Bb · D · F	10×
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	—

Seen from D minor
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	9×
VI	Bb	Submediant — warm colour	Bb · D · F	10×
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 42 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 ×9
Gm A Fii → V/vi Dmiv → Viv → V ×4
Gm Dm Fii → vi Dmiv → iminor plagal ×1

The move to watch is A → Dm, heard 9 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 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.
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

The opening Dm lays a solid floor for everything that follows. The chords that keep coming back are Dm, Gm, Bb, A; read them as vi–ii–IV–V/vi in F or i–iv–VI–V in 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. 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.