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)
Yol'a Düş - O Yar Gelir - Chord
Key F major – D minor Chords Dm, Gm, F Easy key G
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Key: F | Dm
Capo: 0
Dm Dm Gm F Dm Dm O yar gelir yazı da yaban gül olur Gm F Dm Gül olur, gül olur, gül olur Dm Yüzün görsem tutulur dilim lal olur Gm F Dm Lal olur, lal olur, lal olur Dm Aşka düşen divane gezer deli olur Gm F Dm Deli olur, deli olur, deli olur Dm Dm Gm F Dm Dm Evlerine vara da gele usandım Gm F Dm Usandım, usandım, usandım Dm El kızını ben kendime yar sandım Gm F Dm Yar sandım, yar sandım, yar sandım Dm Yüreğime hançer de soktu gül sandım Gm F Dm Gül sandım, gül sandım, gül sandım Dm Dm Gm F Dm Dm Mezarımı derinde kazın dar olsun Gm F Dm Dar olsun, dar olsun, dar olsun Dm Altı lale üstü de sümbül bağ olsun Gm F Dm Bağ olsun, bağ olsun, bağ olsun Dm Ben ölürsem sevdiceğim sağ olsun Gm F Dm Sağ olsun, sağ olsun, sağ olsun
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Yol'a Düş - O Yar Gelir Tabs
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Harmony analysis
Yol'a Düş – O Yar Gelir: 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)
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 and Dm is heard 27 times against 12 for F. 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 | 12× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 12× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 27× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 27× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 12× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 12× |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| 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). 3 different chords appear 51 times in total; 3 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 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 F, land on F, A, C — 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 Dm, the song gives away its key from the very first bar. Dm, Gm, F carry the song: vi–ii–I relative to F, i–iv–III relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. 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.
Yol'a Düş - O Yar Gelir 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: Ruhi Su
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