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)
Barabar - Köprüden Geçti Gelin - Chord
Key F major – D minor Chords Dm7, Gm7, Am7, C, Bbmaj7, Bb Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm7 Köprüden geçti gelin Bb Am7 Gm7 Saç bağın düştü gelin diloy lom C Dm7 Halden bilmez diloy lom Bbmaj7 Söz anlamaz ne çare Dm7 Sen benden geçtin ama Bb Am7 Gm7 Ben senden geçemiyom diloy lom C Dm7 Halden bilmez diloy lom Bbmaj7 Söz anlamaz ne çare Dm7 Eğil bir yol öpeyim Bb Am7 Gm7 Gençliğim geçti gelin diloy lom C Dm7 Halden bilmez diloy lom Bbmaj7 Söz anlamaz ne çare Dm7 Sen benden geçtin ama Bb Am7 Gm7 Ben senden geçemiyom diloy lom C Dm7 Halden bilmez diloy lom Bbmaj7 Söz anlamaz ne çare Am7 Dm7 Gm7 C Diloy diloy diloy diloy lom Gm7 Dm7 Halden bilmez diloy lom Bbmaj7 Söz anlamaz ne çare
End of song Play again?
Barabar - Köprüden Geçti Gelin Tabs
NotesX
Harmony analysis
Barabar – Köprüden Geçti Gelin: key and chord analysis
The song opens on Dm7 and ends on Bbmaj7. 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 opens on Dm and Dm is heard 10 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 6× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 5× |
| 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 | 5× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 4× |
| V | C | Dominant — strongest pull home | C · E · G | 5× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 10× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 10× |
| 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 | 6× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 5× |
| 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 | 5× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 5× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 35 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
- Gm7 C Fii7 → Vii → V Dmiv7 → VII ×5
- C Dm7 FV → vi7deceptive cadence DmVII → i7Aeolian arrival ×4
- Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×3
- Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×1
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×1
The move to watch is Gm7 → C, heard 5 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 Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Gm7, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Am7, land on A, C, E — 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
Starting on Dm7, the song gives away its key from the very first bar. The chords that keep coming back are Dm7, Gm7, Am7, C; read them as vi7–ii7–iii7–V in F or i7–iv7–v7–VII in Dm. 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 Bbmaj7, 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.
Barabar - Köprüden Geçti Gelin 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Neşet ErtaşMusic: Neşet Ertaş
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.