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)
Yeni Türkü - Mapushane Kapısı - Chord
Key F major – D minor Chords Dm, Gm, Bb, G, Am, A, C, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm
Altı kadın vardı demir kapının önünde
Beşi toprağa oturmuş, ayakta biri
Sekiz çocuk vardı demir kapının önünde
Bb G Dm
Besbelli henüz öğrenmemişler gülümsemeyi
Dm
Altı kadın vardı demir kapının önünde
C Dm
Ayakları sabırlı, ellerinde keder
Dm
Sekiz çocuk vardı demir kapının önüde
F A Dm
Cin gibi bakıyor kundaktakiler
Dm
Altı kadın vardı demir kapının önünde
Sımsıkı gizlemişler saçlarını
Sekiz çocuk vardı demir kapının önünde
Bb G Dm
Birileri kavuşturmuş avuçlarını
Dm Gm
Bir jandarma vardı demir kapının önünde
Bb Am Gm Dm
Ne dost ne düşman nöbet uzun hava sıcak
Dm Gm
Bir beygir vardı demir kapının önünde
Bb Am Dm
Nerdeyse ağlayacak
Dm Gm
Bir köpek vardı demir kapının önünde
Bb Am Dm
Burnu kara tüyü sarı
Gm Dm
Kamış sepetlerinde yeşil biber vardı
Gm Bb A Dm
Torbalarda kömür, heybelerde soğan sarımsak
Dm
Altı kadın vardı demir kapının önüde
G Dm
Ve demir kapının ardında beşyüz erkek vardı efendim
Dm Gm
Altı kadından biri sen değildin ama
Bb Gm Dm
Beşyüz erkekten biri bendim
End of song Play again?
Yeni Türkü - Mapushane Kapısı Tabs
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Harmony analysis
Yeni Türkü – Mapushane Kapısı: 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)
- #7 = C# (harmonic-minor leading tone from the V chord)
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, Dm is heard 20 times against 1 for F and the major V chord points straight at 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 1× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 8× |
| V/V | G | Secondary dominant V/V — leads to Csecondary dominant | G · B · D | 3× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 3× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 2× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 7× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| 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 | 1× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 8× |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 3× |
| v | Am | Minor dominant — soft pull | A · C · E | 3× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 2× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 7× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 8 different chords appear 45 times in total; 6 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. G acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×3
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×2
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
The move to watch is Gm → Dm, heard 3 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 Bb, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
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 Dm; the ear learns where home is within a second. Dm, Gm, Bb, G carry the song: vi–ii–IV–V/V relative to F, i–iv–VI–IV relative to Dm. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. 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.
Yeni Türkü - Mapushane Kapısı 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: Nazım Hikmet RanMusic: Selim Atakan
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