Volkan Konak - Doğrudur - Chord

Key Bb major – G minor Chords Dm, F, Eb, Cm7, Gm, Cm, Bb, Am Easy key C

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Capo 0

Dm  Dm  Dm  Eb

Bb                Cm                F   F  Gm  F  Eb
Gözüm arkada kaldı, yüreğim sende kaldı
Bb                Cm                F   F  Gm  Am  Cm
Gözüm arkada kaldı, yüreğim sende kaldı

Gm                Eb
Ateşinin adı kül, benimki sensin
F                    Cm7         Dm
Bu sevdalık tenimde, gizlenen sensin

Gm               Eb
Avuçlarında ısıt resimlerimi 
F                  Cm7        Dm
Deli gibi her gece özlenen sensin

Dm                Eb     Dm
Çıkıp çıkıp aşkın meydanına
           Eb     Dm
İsmini bağıra bağıra 
F                  Eb
İçimi çeke çeke, seviyorum diye diye
Dm        Cm7  Dm
Ağladığım doğrudur
F                 Eb
Kalbimin içine senin adını adını
Dm          Cm7  Dm
Yazdirdigum doğrudur

F  F  Eb  Eb  Dm  Dm  Cm7  Dm

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Volkan Konak - Doğrudur Tabs

NotesX

Harmony analysis

Volkan Konak – Doğrudur: key and chord analysis

The song opens on Dm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.

Major view

Bb major

Brightness rank 2/7 (bright)

Characteristic notes

7 = A (leading tone, pulls home)
4 = Eb (the note that leans on the 3rd)

Minor view

G minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Eb (the minor's melancholy)
b7 = F (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the G minor side because Gm is heard 4 times against 2 for Bb. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 Bb major
Degree	Chord	Role	Notes	In song
I	Bb	Tonic — home	Bb · D · F	2×
ii7	Cm7	Supertonic — prepares the dominant	C · Eb · G · Bb	5×
ii	Cm	Supertonic — prepares the dominant	C · Eb · G	3×
iii	Dm	Mediant — a tonic-family shade	D · F · A	15×
V/vi	D	Secondary dominant V/vi — leads to Gmsecondary dominant	D · F# · A	—
IV	Eb	Subdominant — moves away from home	Eb · G · Bb	10×
V	F	Dominant — strongest pull home	F · A · C	11×
vi	Gm	Relative minor — the melancholy side	G · Bb · D	4×
vii°	Adim	Leading-tone chord — tension	A · C · Eb	—
vii	Am	Chromatic colour chordoutside the key	A · C · E	1×

Seen from G minor
Degree	Chord	Role	Notes	In song
i	Gm	Tonic — home	G · Bb · D	4×
ii°	Adim	Supertonic — prepares the dominant	A · C · Eb	—
ii	Am	Chromatic colour chordoutside the key	A · C · E	1×
III	Bb	Relative major — the bright side	Bb · D · F	2×
iv7	Cm7	Subdominant — moves away from home	C · Eb · G · Bb	5×
iv	Cm	Subdominant — moves away from home	C · Eb · G	3×
v	Dm	Minor dominant — soft pull	D · F · A	15×
V	D	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	D · F# · A	—
VI	Eb	Submediant — warm colour	Eb · G · Bb	10×
VII	F	Subtonic — steps back to the tonic	F · A · C	11×

Analysis

The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 51 times in total; 7 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.

Chord movement

Eb Bb BbIV → Iplagal cadence GmVI → III ×2
F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2
Cm F Bbii → Vii → V Gmiv → VII ×2
Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
Cm Gm Bbii → vi Gmiv → iminor plagal ×1
Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1

The move to watch is Eb → Bb, heard 2 times. From the Gm side it is VI → III; from the Bb side it reads IV → I (plagal cadence: the soft 'amen' ending). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
Over Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
Over Eb, land on Eb, G, Bb — 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 Bb major shapes

Capo 1 + A shapes
Capo 3 + G shapes
Capo 6 + E shapes

With G minor shapes

Capo 3 + Em shapes
Capo 5 + Dm shapes

Easiest keys on guitar

2 semitones up
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, F, Eb, Cm7; read them as iii–V–IV–ii7 in Bb or v–VII–VI–iv7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Bb (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. The final chord is Dm; the ear comes to rest in Bb.

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.