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)
Can Ozan - Sar Bu Şehri - Chord
Key F major – D minor Chords Dm, C, Bbmaj7, F, G, Bb Easy key G
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Key: F | Dm
Capo: 0
Dm Dm Bbmaj7 C F Bbmaj7 Dm C Bbmaj7 Anlamam nedenini üzmüşler bebeğimi ah, ah Dm C Bbmaj7 Tam yüzüne dalmışken, çizmiş kendi resmini ah, ah Dm C Bbmaj7 C Nolursun kaç kurtar kendini bu diyardan, yar Dm C Bbmaj7 C Güneşi ararken peşini bırakmaz ay, ay Dm G F Bb Dm Sar bu şehri en başından yak iyice yak Dm G F Bb Dm Kim der ki bu rüyadan uyan ona uzat Dm F G Dm Dm C Bbmaj7 Ne yalnızlık ne hüzün bu gecenin gündüzü var, var Dm C Bbmaj7 Sanma ki ölümsüzüm bu şehrin duvarları dar, dar Dm C Bbmaj7 C Nolursun kaç kurtar kendini bu diyardan, yar Dm C Bbmaj7 C Güneşi ararken peşini bırakmaz ay, ay Dm G F Bb Dm Sar bu şehri en başından yak iyice yak Dm G F Bb Dm Kim der ki bu rüyadan uyan ona uzat
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Can Ozan - Sar Bu Şehri Tabs
/videos/can-ozan-sar-bu-sehri-tab.mp4
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Harmony analysis
Can Ozan – Sar Bu Şehri: 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 20 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 | — |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 5× |
| 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 | 4× |
| V | C | Dominant — strongest pull home | C · E · G | 13× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 20× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 20× |
| 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 | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 5× |
| 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 | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 13× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 58 times in total; 5 of them sit naturally inside the shared scale. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×5
- Bbmaj7 Dm FIVmaj7 → vi DmVImaj7 → iVI → i ×5
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4
- Bb Dm FIV → vi DmVI → iVI → i ×4
- C F FV → Iauthentic cadence DmVII → III ×1
The move to watch is Bbmaj7 → C, heard 5 times. From the Dm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IVmaj7 → V (IV → V: the lift that builds tension before home). 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
- Over Bbmaj7, land on Bb, D, F — 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, C, Bbmaj7, F — vi–V–IVmaj7–I from the F side, i–VII–VImaj7–III from the Dm side. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on Bbmaj7 → C (IVmaj7 → V in F, VImaj7 → VII in Dm): VI → VII — the rising step that heads for the tonic. 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.
Can Ozan - Sar Bu Şehri 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: Can OzanMusic: Can Ozan
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