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)
Yaprak Çamlıca - Gökyüzümün Mavisi - Chord
Key F major – D minor Chords Gm, Dm, Bb, A7, C, Am Easy key G
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Key: F | Dm
Capo: 0
Dm
Bugün güneş parlıyorsa
Gm
Rüzgar ılık esiyorsa
Bb
Tenim bahar kokuyorsa
Gm A7
Aşkındandır sevdiğim
Dm
Kalbim dolup taşıyorsa
Gm
Kelebekler uçuyorsa
Bb
Gözlerim hep gülüyorsa
Gm A7
Aşkındandır sevdiğim
Dm
Sen yüreğimin tek sahibi
C Am
Ah, denizimin tek sahili
Bb Gm
Gökyüzümün mavisi
C
İmkansızın mucizesi
Gm A7
Vazgeçmem asla
Dm Gm
Duvarlar örsen de aşkıma
Dm
Ben duyarım seni
Gm
Uzun yollar hiç engel olmaz
Dm
Ben bulurum seni
Gm
Her yalanda bir gerçeklik var
Bb
Kandırma kendini
Gm
Sen sevmiyormuşsun gibi yap
A7
Ben severim seni
Dm Gm
Dev duvarlar örsen de aşkıma...
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Yaprak Çamlıca - Gökyüzümün Mavisi Tabs
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Harmony analysis
Yaprak Çamlıca – Gökyüzümün Mavisi: key and chord analysis
The song opens on Dm 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)
- #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 opens on Dm, Dm is heard 7 times while F never appears 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 11× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 1× |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 4× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 4× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 7× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 7× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 11× |
| v | Am | Minor dominant — soft pull | A · C · E | 1× |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 4× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 4× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 2× |
Analysis
The key pair is F major and its relative D minor (1 flat). 6 different chords appear 29 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.
Chord movement
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×4
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×4
- Gm Dm Fii → vi Dmiv → iminor plagal ×2
- Gm C Fii → Vii → V Dmiv → VII ×1
The move to watch is A7 → Dm, heard 4 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). 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 Dm, land on D, F, A — 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.
- 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Gm, Dm, Bb, A7; read them as ii–vi–IV–V7/vi in F or iv–i–VI–V7 in Dm. 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 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on Gm, the song seals F as home.
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.
Yaprak Çamlıca - Gökyüzümün Mavisi 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: Yaprak Çamlıca
Yaprak Çamlıca
Music: Yaprak Çamlıca
Yaprak Çamlıca
Arrangement: Deprem Gürdal
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