Gülşen - Yıkım Kararı - Chord

Key F major – D minor Chords Gm7, Am, C, Dm7, Dm, Gm, Bbmaj7, Am7 … Easy key C (capo 5)

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Capo 0

  Dm7
Yıkım kararı almışsın
   Gm7
Bu evlerde durulmaz
Am
 Ne varsa yok saymışsın
  Gm7
Şimdi üstelemek olmaz

Dm            C
 Göstermem ben üzüldüğümü
Gm         Am
Ah içimi görsen
Dm         C
 Anlamıyor laftan kalbim
Gm       Am    
 Bir izah etsen

Am  Bb  C  Dm
 
Dm7               C
 Yalan mıydı tövbeler
Bbmaj7          Am7
 Seviyor görünmeler
Gm7        C
 Beni de bu erken
    C7      Gm7  Am
 Sevinmeler yaaaktı

  Dm7
Mühim bir neden olmasaydı
   Gm7
Vazgeçmezdim herşeyden
Am
Korkuyor musun sen de
      Gm7
Bu çılgın sessizliğmden

Dm7               C
 Yalan mıydı tövbeler
Bbmaj7          Am7
 Seviyor görünmeler
Gm7        C
 Beni de bu erken
    C7      Gm7  Am
 Sevinmeler yaaaktı

End of song Play again?

Gülşen - Yıkım Kararı Tabs

NotesX

Harmony analysis

Gülşen – Yıkım Kararı: key and chord analysis

The song opens on Dm7 and ends on Am. 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 opens on Dm and Dm is heard 7 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	8×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	2×
iii	Am	Mediant — a tonic-family shade	A · C · E	7×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	2×
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	2×
IV	Bb	Subdominant — moves away from home	Bb · D · F	1×
V	C	Dominant — strongest pull home	C · E · G	7×
V7	C7	Dominant — strongest pull home	C · E · G · Bb	2×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	4×
vi	Dm	Relative minor — the melancholy side	D · F · A	3×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	4×
i	Dm	Tonic — home	D · F · A	3×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	—
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	8×
iv	Gm	Subdominant — moves away from home	G · Bb · D	2×
v	Am	Minor dominant — soft pull	A · C · E	7×
v7	Am7	Minor dominant — soft pull	A · C · E · G	2×
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	2×
VI	Bb	Submediant — warm colour	Bb · D · F	1×
VII	C	Subtonic — steps back to the tonic	C · E · G	7×
VII7	C7	Subtonic — steps back to the tonic	C · E · G · Bb	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 10 different chords appear 38 times in total; 10 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

Gm7 C Fii7 → Vii → V Dmiv7 → VII ×2
Gm7 Dm Fii7 → vi Dmiv7 → iminor plagal ×1
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×1
Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1

The move to watch is Gm7 → C, heard 2 times. From the Dm side it is iv7 → VII; from the F side it reads ii7 → V (ii → V: the classic preparation of the dominant). 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 Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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 first chord is Dm7; the ear learns where home is within a second. The backbone is Gm7, Am, C, Dm7 — ii7–iii–V–vi7 from the F side, iv7–v–VII–i7 from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm7 → C (ii7 → V in F, iv7 → VII in Dm): ii → V — the classic preparation of the dominant. It closes on Am, letting the F side have the last word.

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.