Ciwan Haco - Te Zü Te Derani - Chord

Key F major – D minor Chords Dm, F, C, A7 Easy key C (capo 5)

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Capo 0

Dm  Dm  F  F  C  C  Dm  Dm

Dm                       F
Hate ber derî min lê nenerî
              C                Dm
Lê gava ku ew çû, min dil daye dû

Dm          F                C
Ka ew çavên reş, ka ew dêmên geş
            F     A7           Dm
Ka ew bêhna xweş, ka ew reng û rû
A7           Dm
Ka ew reng û rû

Dm  F  C  F  A7  Dm  A7  Dm

Dm                            F
Yara min bang kir, ey bilbilê dîn
             C             Dm
Li ser çi digrî, qêrîn û nalîn

Dm         F               C
Yara te va ye, li ber çava ye
            F   A7              Dm
Ev deşt û çiya, tev xweş kir bi bîn
A7           Dm
Tev xweş kir bi bîn

Dm  F  C  F  A7  Dm  A7  Dm

Dm                        F
Bilbil tu zanî gelo ez kî me
            C               Dm
Tu tim serdestî,lê ez girtî me

Dm        F               C
Bêlîs û hêlîn, bê ol û bê dîn
            F    A7          Dm
Ez im Cegerxwîn, xortê kurdî me
A7          Dm
xortê kurdî me

End of song Play again?

Ciwan Haco - Te Zü Te Derani Tabs

NotesX

Harmony analysis

Ciwan Haco – Te Zü Te Derani: key and chord analysis

The song opens on Dm and ends on Dm. 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 both starts and finishes on Dm, Dm is heard 25 times against 15 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	15×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
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	10×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	10×
vi	Dm	Relative minor — the melancholy side	D · F · A	25×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	25×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	15×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
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	10×
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	10×

Analysis

The key pair is F major and its relative D minor (1 flat). 4 different chords appear 60 times in total; 3 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 ×10
C F FV → Iauthentic cadence DmVII → III ×5
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×4

The move to watch is A7 → Dm, heard 10 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 Dm, land on D, F, A — 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.
Over C, land on C, E, G — 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

Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, F, C, A7; read them as vi–I–V–V7/vi in F or i–III–VII–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. It closes on Dm, letting the Dm 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.