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)
Grup Gündoğarken - Nereden Nereye - Chord
Key F major – D minor Chords Dm, Gm, C, F, G, Am Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Dm F Gm Dm Dm C Dm Dm Nereden nereye, nereden nereye F Gm Nereden nereye geldik biz Dm Nereden nereye, nereden nereye C Dm Nereden nereye gidiyoruz G Dm Henüz cep telefonu yoktu hayatımızda G Dm Akan sular bu kadar bulanmamıştı Gm Bir kahvenin kırk yıllık hatırı vardı harbiden C Am Dm Hiç bir zaman mertlik bu kadar bozulmamıştı Dm Nereden nereye, nereden nereye F Gm Nereden nereye geldik biz Dm Nereden nereye, nereden nereye C Dm Nereden nereye gidiyoruz G Dm Bin odalı saraylar yoktu hayatımızda G Dm Yandaş medya henüz var olmamıştı Gm Her gün gelen zamlarla belimiz bükülürken C Am Dm Hiç bir zaman bu kadar pişkin olunmamıştı Dm Nereden nereye, nereden nereye F Gm Nereden nereye geldik biz Dm Nereden nereye, nereden nereye C Dm Nereden nereye gidiyoruz
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Grup Gündoğarken - Nereden Nereye Tabs
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Harmony analysis
Grup Gündoğarken – Nereden Nereye: 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 4 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 | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 6× |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 4× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 2× |
| 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 | 6× |
| 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 | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 6× |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 4× |
| v | Am | Minor dominant — soft pull | A · C · E | 2× |
| 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 | 6× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 42 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
- Gm Dm Fii → vi Dmiv → iminor plagal ×4
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4
- Gm C Fii → Vii → V Dmiv → VII ×2
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
The move to watch is Gm → Dm, heard 4 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. G adds a moment of surprise: secondary dominant V/V — leads to C. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. It closes on Dm, letting the Dm 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.
Grup Gündoğarken - Nereden Nereye 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: Gökhan Şeşen
Burhan Şeşen
Enver AyseverMusic: Gökhan Şeşen Arrangement: Grup Gündoğarken
Burhan Şeşen
Enver AyseverMusic: Gökhan Şeşen Arrangement: Grup Gündoğarken
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