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)
Esra Kahraman - Ex Love - Chord
Key F major – D minor Chords Dm, Gm, C, F, Am Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm C Gm Dm
Dm F
You left me alone in dark
Gm Dm
And made a pain just like a shark
F
There's no need for talking
Gm Dm
Don't get tired for explaining
Gm Dm
Nothing will be the same again
Gm Dm
And our love never will begin
C Am Dm
Stop telling me about your regrets
Gm Dm
You'd never touch my soul again
Gm Dm
And never search my hearth again
C Am
Cause i don't wanna hear
Dm
Your usual lies
F Gm Dm
Wowww woow, it's too late
C Am Dm
I'm afraid ex love, I started to hate
Dm F
I deeply felt as i die
Gm Dm
Understood lately everything was lie
F
Faught with my soul and heart
Gm Dm
Try to push you away so hard
Gm Dm
Nothing will be the same again
Gm Dm
And our love never will begin
C Am Dm
Stop telling me about your regrets
Gm Dm
You'd never touch my soul again
Gm Dm
And never search my hearth again
C Am
Cause i don't wanna hear
Dm
Your usual lies
F Gm Dm
Wowww woow, it's too late
C Am Dm
I'm afraid ex love, I started to hate
End of song Play again?
Esra Kahraman - Ex Love Tabs
NotesX
Harmony analysis
Esra Kahraman – Ex Love: 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 24 times against 6 for F. 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 | 6× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 15× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 6× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | 7× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 24× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 24× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 6× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 15× |
| v | Am | Minor dominant — soft pull | A · C · E | 6× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 7× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 58 times in total; 5 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
- Gm Dm Fii → vi Dmiv → iminor plagal ×15
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×6
The move to watch is Gm → Dm, heard 15 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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 C, land on C, E, G — 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
- 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 backbone is Dm, Gm, C, F — vi–ii–V–I from the F side, i–iv–VII–III from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. 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.
Esra Kahraman - Ex Love 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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