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)
Yıldız Tilbe - Yaşa ve Gör (RamZan) - Chord
Key F major – D minor Chords Am7, Gm7, Bbmaj7, F, Dm7, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am7 Gm7
Am7 Gm7 Am7
Soruyorum aşk nedir diye
Gm7 Am7
Yüreğime ders verir diye
Gm7 Bbmaj7 Am7
İçimde bu kıpırtı niye
Gm7 Bbmaj7 Am7
Galiba aşık oluyorum ben
Gm7 Bbmaj7 Am7
İçimde bu kıpırtı niye
Gm7 Bbmaj7 Am7
Galiba aşık oluyorum ben
F Gm7 Bbmaj7 Am7
Bilmiyorum bilmiyorum anlamıyorum
F Gm7 Bbmaj7 Am7
Bilmiyorum bilmiyorum çözemiyorum
Dm7 Bbmaj7
Kimi masal dedi başlayıp biten
Am7
Kimi çile dedi her günü sitem
Bbmaj7 Gm7
Kimi ateş dedi yanıp da tüten
C Gm7 Am7
Ben bu aşkı anlamadım
Dm7 Bbmaj7
Sevip de ayrılanlar harap dediler
Am7
İçini mest eden şarap dediler
Bbmaj7 Gm7
Görünüp kaybolan serap dediler
C Gm7 Am7
Yaşa ve gör dediler
End of song Play again?
Yıldız Tilbe - Yaşa ve Gör (RamZan) Tabs
NotesX
Harmony analysis
Yıldız Tilbe – Yaşa ve Gör (RamZan): 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 | 2× |
| ii7 | Gm7 | Supertonic — prepares the dominant | G · Bb · D · F | 13× |
| iii7 | Am7 | Mediant — a tonic-family shade | A · C · E · G | 14× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 2× |
| iv7 | Gm7 | Subdominant — moves away from home | G · Bb · D · F | 13× |
| v7 | Am7 | Minor dominant — soft pull | A · C · E · G | 14× |
| 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 | 10× |
| 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 43 times in total; 6 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
- Am7 Dm7 Fiii7 → vi7 Dmv7 → i7natural-minor cadence ×2
- Gm7 C Fii7 → Vii → V Dmiv7 → VII ×2
The move to watch is Am7 → Dm7, heard 2 times. From the F side it reads iii7 → vi7; from the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival). 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 opening Am7 lays a solid floor for everything that follows. The chords that keep coming back are Am7, Gm7, Bbmaj7, F; read them as iii7–ii7–IVmaj7–I in F or v7–iv7–VImaj7–III in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am7 → Dm7 (iii7 → vi7 in F, v7 → i7 in Dm): natural-minor cadence — gentle, modal arrival. It closes on Am7, 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.
Yıldız Tilbe - Yaşa ve Gör (RamZan) 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: Murat BalkanMusic: Murat BalkanArrangement: Ersin Bişgen
Uğur Akyürek
Uğur Akyürek
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