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)
Sıfır KM - Yas - Chord
Key F major – D minor Chords Dm, Am, Eb, Gm, Bb, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Eb
Hatıralar başucumda nöbet tutar gece gündüz, bekler beni
Düşlerim var benim hayallerim var
Dm
Fikrim derya deniz fikrim geri getirir seni
Eb
Ne eserim ne yağarım dururum mateme dilsiz dağ gibi
Dm
Dualarım var dualarım var, yazarım söylerim yana yana ismini
Bb
Yarıda kaldı şarkılar aman
C
Bu yaraya deva değil zaman
Gm
Ateş düştüğü yeri yakar
Am
Bu düzeni bozuk dünya yalan
Dm Am
Ötme bülbül ötme can ayazda kışta
Gm Am
Sen gülü terk etme şarkılar şiirler yasta
End of song Play again?
Sıfır KM - Yas Tabs
Dm Dm
E-----------------------|-----------------------|
B-----------------------|-----------------------|
G-----------------------|-----------------------|
D----7-8-7---7-8-7------|----7-8-7---7-8-7------|
A--5-------5-------8-6--|--5-------5-------8-6--|
E-----------------------|-----------------------|
Eb Eb
E--------------------------|--------------------------|
B--------------------------|--------------------------|
G--------------------------|--------------------------|
D----8-10-8---8-10-8-------|----8-10-8---8-10-8-------|
A--6--------6--------10-8--|--6--------6--------10-8--|
E--------------------------|--------------------------|
NotesX
Harmony analysis
Sıfır KM – Yas: key and chord analysis
The song opens on Dm and ends on Am. 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 4 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 2× |
| 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 | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 1× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 4× |
| bVII | Eb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 4× |
| bII | Eb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 2× |
| 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 | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 1× |
| 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). 6 different chords appear 13 times in total; 5 of them sit naturally inside the shared scale. Eb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×1
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×1
The move to watch is Bb → C, heard once. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.
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 chords that keep coming back are Dm, Am, Eb, Gm; read them as vi–iii–bVII–ii in F or i–v–bII–iv in Dm. Eb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. It closes on Am, 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.
Sıfır KM - Yas 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: Sezen AksuMusic: Sezen Aksu
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