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)
Ekin Uzunlar - Çaykara'ya Uğradım - Chord
Key F major – D minor Chords Gm, Bb, F, C Easy key G
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Key: F | Dm
Capo: 0
x4 Gm Gm Gm Bb C x2 Bb C Gm Gm x2 Gm Gm Gm Bb C Gm Çaykara’ya uğradım C Bir saat kalamadım Bb Keşanlı kızlarından F Bir tane alamadım Gm Bir tane ala Bb Ey duman yata kalka F Alırsın Çaykara’yı Gm Alırsın Çayka Bb Doktor nasıl saracak F Yürekteki yarayı Gm Yürekteki ya x4 Bb F Gm Gm Ben ölürsem uşaklar C Bütün malımı satın Bb Tabutumun üstüne F Bir kız keşanı atın Gm Bir kız keşanı Bb Keşanın altından F Bak bakana bakana Gm Bak bakana bak Bb Hakkımı helal etmem F Yüreğimi yakana Gm Yüreğimi yak Gm Gel inelim inelim C Çaykara pazarına Bb Bizi kavuşturanın F Nur yağsın mezarına Gm Nur yağsın meza Bb Kazankıran taşmaz mı F Bu yol buradan aşmaz mı Gm Bu yol buradan a Bb Ağlama nazlı yarim F Ayrılan kavuşmaz mı Gm Ayrılan kavu
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Ekin Uzunlar - Çaykara'ya Uğradım Tabs
NotesX
Harmony analysis
Ekin Uzunlar – Çaykara'ya Uğradım: key and chord analysis
The song opens on Gm and ends on Gm. 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 F major side because F is heard 10 times while Dm never appears. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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 | 10× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 21× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 13× |
| V | C | Dominant — strongest pull home | C · E · G | 6× |
| 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 | 10× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 21× |
| 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 | 13× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 6× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 50 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
- Bb F FIV → Iplagal cadence DmVI → III ×10
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×3
- Gm C Fii → Vii → V Dmiv → VII ×3
The move to watch is Bb → F, heard 10 times. From the F side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Dm side it is VI → 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 Gm, land on G, Bb, D — 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.
- 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. The chords that keep coming back are Gm, Bb, F, C; read them as ii–IV–I–V in F or iv–VI–III–VII in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → F (IV → I in F, VI → III in Dm): plagal cadence — the soft 'amen' ending. The final chord is Gm; 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.
Ekin Uzunlar - Çaykara'ya Uğradım 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: AnonimMusic: Anonim
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