Pinhani - Ne Güzel Güldün - Chord

Key F major – D minor Chords Bb, Am, Dm, F, C, A, Gm Easy key C (capo 5)

Add to Repertoire

No ratings yet

or your user informations

Capo 0

       Dm               Am
Belki durup dururken yanına gelince
      Bb                 F    C
Söylediklerimi anlamsız buldun
    Dm                Am       
Oysa vakit yoktu ama sen haklıydın
      Bb                     F    Bb
Çünkü böyle şeyle aceleye gelmezdi 

Bb    Am     Gm   Bb           A    Bb      C
Yalandan da olsa ne güzel güldün o akşam bana

Dm   F    Bb    A

       Dm                  Am
Belki tanışmak zor iyi anlaşmak zor
      Bb              F     C
Peki görüşmek çok mu kolaydı
     Dm                   Am
Çok kısa bir zamanda belki biraz da zorla
     Bb                  F    Bb
Bence gayet i̇yi de anlaştık   

Bb    Am     Gm   Bb           A     Bb     C
Yalandan da olsa ne güzel güldün o akşam bana

        Dm                     Am
Bana bir söz verdin yine gelirim diye
     Bb                F     C
Sen gelmesen bile ben gelirdim
     Dm                     Am
Sana bi şarkı yazdım söylersin diye
      Bb               F    Bb
Beni hiç unutmamanı i̇stedim   

Bb    Am     Gm   Bb           A    Bb      C
Yalandan da olsa ne güzel güldün o akşam bana

End of song Play again?

Pinhani - Ne Güzel Güldün Tabs

NotesX

Harmony analysis

Pinhani – Ne Güzel Güldün: key and chord analysis

The song opens on Dm and ends on C. 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)
#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 opens on Dm 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	7×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	3×
iii	Am	Mediant — a tonic-family shade	A · C · E	9×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	4×
IV	Bb	Subdominant — moves away from home	Bb · D · F	19×
V	C	Dominant — strongest pull home	C · E · G	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	7×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	7×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	7×
iv	Gm	Subdominant — moves away from home	G · Bb · D	3×
v	Am	Minor dominant — soft pull	A · C · E	9×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	4×
VI	Bb	Submediant — warm colour	Bb · D · F	19×
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). 7 different chords appear 55 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.

Chord movement

Bb F FIV → Iplagal cadence DmVI → III ×6
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×5
Bb C FIV → VIV → V DmVI → VIIVI → VII ×3
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×1

The move to watch is Bb → F, heard 6 times. From the Dm side it is VI → III; from the F side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 Bb, land on Bb, D, F — 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 Dm, land on D, F, A — 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 opening Dm lays a solid floor for everything that follows. The backbone is Bb, Am, Dm, F — IV–iii–vi–I from the F side, VI–v–i–III from the Dm side. 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 Bb → F (IV → I in F, VI → III in Dm): plagal cadence — the soft 'amen' ending. The final chord is C; the ear comes to rest in F.

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.