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)
Güven Yüreyi - Aldanmam - Chord
Key F major – D minor Chords Am7, Gm7, Bbmaj7, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am7
Sağın solun belli değil ama
Gm7
Sonun belli bana
Am7
Kırık bir kalp düşer
Gm7
Büyük ihtimalle benim payıma
Bbmaj7 C
Bir geldin yoruldum
Bbmaj7 C
Ne umdum ki ne buldum
Bbmaj7 Am7
Hep aynı biri haklı
Gm7 Am7
Kalan tövbeli ızdıraplı
Am7 C Gm7
Bir daha aldanmam ne kara göze kaşa
Bbmaj7 Am7 Gm7
Bir daha aşkmı yok düşman başına
Am7 C Gm7
Yemin olsun gözümden akan bu yaşa
Bbmaj7 Am7 Gm7 Am7
Hani yerin yanımdı çok seviyordun
Bbmaj7 Am7 Gm7 Am7
Yerin yurdun batsın istemiyorum
End of song Play again?
Güven Yüreyi - Aldanmam Tabs
NotesX
Harmony analysis
Güven Yüreyi – Aldanmam: key and chord analysis
The song opens on Am7 and ends on Am7. 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: 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 8× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 11× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| 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 | — |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 8× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 11× |
| 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 | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 29 times in total; 4 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
- Bbmaj7 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×2
The move to watch is Bbmaj7 → C, heard 2 times. From the F side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Dm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Am7, land on A, C, E — 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 Bbmaj7, 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The first chord is Am7; the ear learns where home is within a second. The backbone is Am7, Gm7, Bbmaj7, C — iii7–ii7–IVmaj7–V from the F side, v7–iv7–VImaj7–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → C (IVmaj7 → V in F, VImaj7 → VII in Dm): IV → V — the lift that builds tension before home. The final chord is Am7; 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.
Güven Yüreyi - Aldanmam 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: Fikret DedeoğluMusic: Fikret DedeoğluArrangement: Metehan Köseoğlu
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