Koray Avcı - Dağlar Oy Dağlar - Chord

Key F major – D minor Chords Csus2, Gm, F, Dm, Bbmaj7, Bb Easy key G

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Capo 0

                      Csus2
Diledim ki nazlı yare gideyim
F                      Dm
Her yandan çevirdi yolumu dağlar
Gm
Gurbet elde garip kaldım nideyim
F
Kırdı kanadımı kolumu dağlar
Csus2
Gurbet elde garip kaldım nideyim
Bbmaj7    Csus2    Dm
Kırdı kanadımı kolumu dağlar

Gm               F          Gm
Dağlar oy dağlar dumanlı dağlar
Csus2           Bbmaj7     Dm
O yarin hasreti bağrımı dağlar
Gm               F          Gm
Dağlar oy dağlar içim kan ağlar
Csus2           Bbmaj7     Dm
O yarin hasreti bağrımı dağlar

Csus2
Ayrılan güler mi nazlı yarinden
F                       Dm
Küle döndüm hasretinden narından
Gm
Kurtulmadım tipisinden karından
F
Perişan eyledi halimi dağlar
Csus2
Kurtulmadım tipisinden karından
Bbmaj7
Perişan eyledi halimi dağlar

Csus2
Kurtulmadım tipisinden karından
Bbmaj7    Csus2    Dm
Perişan eyledi halimi dağlar

Gm               F          Gm
Dağlar oy dağlar dumanlı dağlar
Csus2           Bbmaj7     Dm
O yarin hasreti bağrımı dağlar
Gm               F          Gm
Dağlar oy dağlar içim kan ağlar
Csus2           Bbmaj7     Dm
O yarin hasreti bağrımı dağlar

Csus2
Şimdi sevdiğimin gözü yollarda
F                     Dm
Kalıp eğlenemem ıssız bellerde
F
Sadık Miskini'ye yaban ellerde
Gm
Reva mı gördünüz ölümü dağlar
Csus2
Sadık Miskini'ye yaban ellerde
Bb
Reva mı gördünüz ölümü dağlar

Csus2
Sadık Miskini'ye yaban ellerde
Bbmaj7    Csus2     Dm
Reva mı gördünüz ölümü dağlar

Gm               F          Gm
Dağlar oy dağlar dumanlı dağlar
Csus2           Bbmaj7     Dm
O yarin hasreti bağrımı dağlar
Gm               F          Gm
Dağlar oy dağlar içim kan ağlar
Csus2           Bbmaj7     Dm
O yarin hasreti bağrımı dağlar

End of song Play again?

Koray Avcı - Dağlar Oy Dağlar Tabs

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Harmony analysis

Koray Avcı – Dağlar Oy Dağlar: key and chord analysis

The song opens on Csus2 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)

Which side does the ear lean to?

Our reading: to us the song feels closer to the D minor side because it comes to rest on 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	12×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	15×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	10×
IV	Bb	Subdominant — moves away from home	Bb · D · F	1×
Vsus2	Csus2	Dominant — strongest pull home	C · D · G	17×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	12×
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	12×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	12×
iv	Gm	Subdominant — moves away from home	G · Bb · D	15×
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	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	10×
VI	Bb	Submediant — warm colour	Bb · D · F	1×
VIIsus2	Csus2	Subtonic — steps back to the tonic	C · D · G	17×
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). 6 different chords appear 67 times in total; 6 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

Bbmaj7 Dm FIVmaj7 → vi DmVImaj7 → iVI → i ×6
Bbmaj7 Csus2 FIVmaj7 → Vsus2 DmVImaj7 → VIIsus2VI → VII ×4
Csus2 Dm FVsus2 → vi DmVIIsus2 → iAeolian arrival ×3
Bb Csus2 FIV → Vsus2 DmVI → VIIsus2VI → VII ×1

The move to watch is Bbmaj7 → Dm, heard 6 times. From the Dm side it is VImaj7 → i (VI → i: falls a half step into home); from the F side it reads IVmaj7 → 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 Csus2, land on C, D, G — 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 F, land on F, A, C — 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 Csus2 lays a solid floor for everything that follows. The chords that keep coming back are Csus2, Gm, F, Dm; read them as Vsus2–ii–I–vi in F or VIIsus2–iv–III–i in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → Dm (IVmaj7 → vi in F, VImaj7 → i in Dm): VI → i — falls a half step into home. 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.