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)
Ahiyan - Kurtulmak - Chord
Key F major – D minor Chords Dm, Gm Easy key G
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Key: F | Dm
Capo: 0
Dm Gm
Dm
Kurtulmak nedir
Gm
Kıskıvrak denir hayat
Küstüm rahat edin
Dm
Dost ararken kendimde buldum
Gm Dm
Aradığım ceremeyi çeker her an
Dm Gm
Kimse yok etrafta görünmez herhalde
Dm
Her halde görünmez herhalde
Gm Dm
Severken alıştım, gidenler herhaldeeee
Dm Gm
Başka bambaşka bişeyler var sende ya
Dm
Kendine kızıp dağa, taşa saldırmak neden ya
Gm
Dün yine kafa attım duvarlara
Akıl etmiyorum ya, of
Dm Gm
Temenni etmiyorum ya, bekledim boş yere
Dm
Akıl etmiyorum ya
Dm Gm
Size şaşırmıyorum, zaten kendimi tutamıyorum
Dm
İçimden gelen herkes geri stresslenip patlıyor
Gm
Böyle olmasın madem, ölmeyi beklerim gecelerce gene
Dm
Kimse keyifleri için gidip gelip beni harcayamaz
Gm
Herkesin de öyle öyle ünü var ki, bize hiç gerek yok
Etrafları kalabalık, yürür manken gibi
Dm
Ben bi piçim onun için ne önemi var ki
Tıpkı beyazların arasında zenci işi
Gm Dm
Kimse de yargılayamaz bunu oof
Dm
Kurtulmak nedir
Gm
Kıskıvrak denir hayat
Dm
Kıskıvrak denir
Gm
Kurtulmak nedir hayatım
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Ahiyan - Kurtulmak Tabs
NotesX
Harmony analysis
Ahiyan – Kurtulmak: key and chord analysis
The song opens on Dm and ends on Gm. 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 opens on Dm and Dm is heard 18 times while F never appears. 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 14× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| 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 | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 18× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 18× |
| 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 | 14× |
| 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 | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| 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). 2 different chords appear 32 times in total; 2 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 ×13
The move to watch is Gm → Dm, heard 13 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.
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
- 2 semitones up
- 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. The backbone is Dm, Gm — vi–ii from the F side, i–iv 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 Gm, the song seals F 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.
Ahiyan - Kurtulmak 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: AhiyanMusic: Da Poet
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