Velet - Salına Salına - Chord

Key F major – D minor Chords Am, Bb Easy key G

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Capo 0

Am
Salına salına yürü
        Bb
Endamın kapatıyor gözüm
                    Am
İnan körüm sen ateş olma gülüm
       Bb
Geçmez ömür her zaman iyi olmayacak gülüm

Am  Bb  Am  Bb

Şşş! Sus ve sakın konuşma
Sesini duymasınlar onlar sonra bizi bulurlar
Sanki gökten iner sana bütün gönlü vuruklar
Bende kalmadı derman beni sakın unutma.

Burda yok. Bir dengin ben engin
Denizlerde gezdim senden başka limanım yok
Bir an acır içim, gece ayrı yastıklarda
hayalini kurdukça boş gelir.

Hoş değil ama loş benim için
Senle koşmak için yaşarım olmasın bir şey
Elim kolum bağlı kalır gönlüm duymasa beni
Sesim yankılanır dağlarda fırtına gibi.

Temiz yaşadım beni
Öyle aydınlatır sokağımı gözleri beni
Sen kalbimden yakalayıp bağladın beni,
Sanki buna karşı koyacak gücüm yokmuymuş gibi

Salına salına yürü
Endamın kapatıyor gözüm
İnan körüm sen ateş olma gülüm
Geçmez ömür her zaman iyi olmayacak gülüm

İçimde ki acı bir gün sel olur gider
Umutlar yeşerir koynunda, 
kokun beni yatağına geçer

Aynı kalır içim biter, hep aynı kalır gider
O sevdiğine ortak bulmasa da sever
Of! Benim her yerim yara bana
Daha fazla zarar veremez hiçbir giden yar

Karar veren harap eder
Bu kördüğüm çözülmez böyle keder
Ey dost, ey dost yolundan şaşma, yolundan cayma

Acılar devam eder, acıma seven gider
Çelişkim öyle büyük boyutta ki boyumu geçer
İsyanım teşvik eder, silahıma elim gider
Siyahım kaybolur bu karanlıkta yüzüm düşer 

Salına salına yürü
Endamın kapatıyor gözüm
İnan körüm sen ateş olma gülüm
Geçmez ömür her zaman iyi olmayacak gülüm

End of song Play again?

Velet - Salına Salına Tabs

NotesX

Harmony analysis

Velet – Salına Salına: key and chord analysis

The song opens on Am and ends on Bb. 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)

Which side does the ear lean to?

Our reading: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.

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	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	4×
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	4×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	—
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	—
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	—
v	Am	Minor dominant — soft pull	A · C · E	4×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	4×
VII	C	Subtonic — steps back to the tonic	C · E · G	—

Analysis

The key pair is F major and its relative D minor (1 flat). 2 different chords appear 8 times in total; 2 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

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 Am, land on A, C, E — 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.

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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The first chord is Am; the ear learns where home is within a second. The backbone is Am, Bb — iii–IV from the F side, v–VI from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. The final chord is Bb; 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.