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)
Duman - Vals - Chord
Key F major – D minor Chords F, E, C, Dm, Gm, Am Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm C C C F E Dm Dm C C Gm Gm F E Dm C Gm F E Kalbimi çaldı ortasından yardı Dm C Gm F E Bir tohum ekti çok farklı Dm C Gm Gm F E Dm C Gm F E Gölgeye kaçtım bir yudum su içtim Dm C Gm F E Bin çiçek açtı, yok kimseyi duymadım F E F E Am Canımı sıkmadım fikrini sormadım ben Am F E Am F E Yok benim ayarım yok Am F E Am F E Kaybolan zamanım yok Am C Dm Am F E Gel benim şahidim ol Am C Am F E F E F E Ayrılmaz bir can hayalim ol Dm C Gm F E Aklımı çeldi ortasından deldi Dm C Gm F E Bir ışık yaktı çok renkli
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Duman - Vals Tabs
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Harmony analysis
Duman – Vals: key and chord analysis
The song opens on Dm and ends on E. 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 because it opens on Dm and F is heard 19 times against 11 for Dm. 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 | 19× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 10× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 9× |
| 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 | 14× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 11× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| V/iii | E | Secondary dominant V/iii — leads to Amsecondary dominant | E · G# · B | 19× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 11× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| V/v | E | Secondary dominant V/v — leads to Amsecondary dominant | E · G# · B | 19× |
| III | F | Relative major — the bright side | F · A · C | 19× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 10× |
| v | Am | Minor dominant — soft pull | A · C · E | 9× |
| 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 | 14× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 82 times in total; 5 of them sit naturally inside the shared scale. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- C F FV → Iauthentic cadence DmVII → III ×1
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
The move to watch is C → F, heard once. From the F side it reads V → I (authentic cadence: the strongest arrival home); from the Dm side it is VII → III. 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 F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over E, land on E, G#, B — the chord's own tones always sound right on strong beats.
- Over C, land on C, E, G — 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
The song's harmonic story
The opening Dm lays a solid floor for everything that follows. F, E, C, Dm carry the song: I–V/iii–V–vi relative to F, III–V/v–VII–i relative to Dm. E adds a moment of surprise: secondary dominant V/iii — leads to Am. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. It closes on E, 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.
Duman - Vals 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: Kaan TangözeMusic: Kaan Tangöze
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