Kahraman Deniz - Kafa Düşmeden - Chord

Key F major – D minor Chords Dm7, Gm7, A7, C7, F, Bb, E7 Easy key C (capo 5)

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Capo 0

  Gm7                  Dm7
Yanında özgürüm, fakat serde gurur var
A7                       Dm7
Ben biraz üzgünüm, nasıl sende durumlar
Gm7                      Dm7
İlk kez o gün gördüğüm sihirli bakışlar
A7                     Dm7
Düşündüm de belki sonrakinde umursar

Gm7
İşin aslında birdik
    Dm7
İki damla ve şu koca denizdik
   A7
Akıyorken öyle temizdik ki
     Dm7
Bunu sözle anlatamam

    Gm7
Çoğalır, bazen tükenirdik
   Dm7
Yokken belki daha iyiydik
    A7
Yaratılışımdan mütevellit
       Dm7
Ben bu düzenle anlaşamam

Gm7                  Dm7
Sence önemli miyim, ah, bunu bilmeliyim
A7                             Dm7
Bu kafa düşmeden evvel, aşka düşüp sana gelmeliyim
Gm7
Halimi bilmeyen anlar mı ki
   Dm7
Muhtemelen zırdeliyim
A7                         Dm7
Erkenden bastırılıp dinmiş isyanlar gibiyim

Gm7  Dm7  A7  Dm7

Gm7           C7         F
Hiçbir yerine güneş doğmamış
       Bb          E7
Önünde çiçek büyümemiş
        A7  	   Dm7
Ömrünce hiç sevilmemiş gibi bakma
Gm7         C7
Göğünde bir yıldızım
  F          Bb
Karanlığımda sessizim
E7         A7         Dm7
Gönlüne yaklaşırken yananları gördüm

Gm7                  Dm7
Sence önemli miyim, ah, bunu bilmeliyim
A7                             Dm7
Bu kafa düşmeden evvel, aşka düşüp sana gelmeliyim
Gm7
Halimi bilmeyen anlar mı ki
   Dm7
Muhtemelen zırdeliyim
A7                         Dm7
Erkenden bastırılıp dinmiş isyanlar gibiyim

End of song Play again?

Kahraman Deniz - Kafa Düşmeden Tabs

NotesX

Harmony analysis

Kahraman Deniz – Kafa Düşmeden: key and chord analysis

The song opens on Gm7 and ends on Dm7. 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 comes to rest on Dm, Dm is heard 20 times against 2 for F 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	2×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	11×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	11×
IV	Bb	Subdominant — moves away from home	Bb · D · F	2×
V7	C7	Dominant — strongest pull home	C · E · G · Bb	2×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	20×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
V7/iii	E7	Secondary dominant V/iii — leads to Amsecondary dominant	E · G# · B · D	2×

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	20×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
V7/v	E7	Secondary dominant V/v — leads to Amsecondary dominant	E · G# · B · D	2×
III	F	Relative major — the bright side	F · A · C	2×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	11×
v	Am	Minor dominant — soft pull	A · C · E	—
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	11×
VI	Bb	Submediant — warm colour	Bb · D · F	2×
VII7	C7	Subtonic — steps back to the tonic	C · E · G · Bb	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 50 times in total; 5 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 A7 is V7/vi, a secondary dominant heading for Dm. E7 acts as a secondary dominant, briefly pointing at another chord of the key.

Chord movement

A7 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×11
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×9
C7 F FV7 → Iauthentic cadence DmVII7 → III ×2
Gm7 C7 Fii7 → V7ii → V Dmiv7 → VII7 ×2
E7 A7 FV7/iii → V7/visecondary resolution DmV7/v → V7 ×2

The move to watch is A7 → Dm7, heard 11 times. From the Dm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi7 (secondary resolution: A7 resolves a fourth up to Dm7). 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 Dm7, land on D, F, A — 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 A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
When A7 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 Gm7 lays a solid floor for everything that follows. The backbone is Dm7, Gm7, A7, C7 — vi7–ii7–V7/vi–V7 from the F side, i7–iv7–V7–VII7 from the Dm side. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm7 (V7/vi → vi7 in F, V7 → i7 in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is Dm7; 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.