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)
Erol Evgin - Erol Evgin (Funda Arar) - Chord
Key F major – D minor Chords Dm, Gm, A, F, Bb, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm F A Dm Gm Bb Dm Gm C C F F Gm Bb Dm A Dm
Dm
Zincire vurulmuş bir mahkum gibi
Gm
Aşkının kölesi oldum ne çare
Dm
Bir ömre bedeldi adının bir harfi
Gm A Dm
Hasretin düşürdü beni bu hale
A
Dm F A Dm
Dipsiz bir kuyu gibi karardı dünyam
Gm Bb Dm Gm
Sensiz hayat nedir ki boş bir virane
C F
Meyhaneler yetmiyor bu gece bana
Gm Bb Dm A Dm
Ben sana vuruldum deli divane
Dm
Çöllerde dolaşan bir mecnun gibi
Gm
Aşkınla tutuştum yandım ne çare
Dm
Her şeye bedeldi saçının bir teli
Gm A Dm
Ayrılık düşürdü beni bu hale
A
Dm F A Dm
Dipsiz bir kuyu gibi karardı dünyam
Gm Bb Dm Gm
Sensiz hayat nedir ki boş bir virane
C F
Meyhaneler yetmiyor bu gece bana
Gm Bb Dm A Dm
Ben sana vuruldum deli divane
End of song Play again?
Erol Evgin - Erol Evgin (Funda Arar) Tabs
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Harmony analysis
Erol Evgin – Erol Evgin (Funda Arar): 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)
- #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 21 times against 7 for F 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 | 7× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 13× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 10× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 21× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 21× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 7× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 13× |
| 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 | 10× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 61 times in total; 5 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 ×10
- Bb Dm FIV → vi DmVI → iVI → i ×6
- C F FV → Iauthentic cadence DmVII → III ×3
- Gm C Fii → Vii → V Dmiv → VII ×3
- Gm Dm Fii → vi Dmiv → iminor plagal ×2
- Gm A Fii → V/vi Dmiv → Viv → V ×2
The move to watch is A → Dm, heard 10 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 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
- 2 semitones up
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. Dm, Gm, A, F carry the song: vi–ii–V/vi–I relative to F, i–iv–V–III 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. The final chord is Dm; the ear comes to rest in Dm.
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.
Erol Evgin - Erol Evgin (Funda Arar) 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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Lyrics: Çiğdem TaluMusic: Melih Kibar
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