İkilem - Karahisar Kalesi - Chord

Key F major – D minor Chords Am7, Gm7, Dm7, Bbmaj7, Fmaj7, C, Em7b5 Easy key C (capo 5)

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Capo 0

Dm7  Gm7  Gm7  Dm7  Bbmaj7  Am7  Gm7  Am7

Dm7       Am7    Bbmaj7    Dm7
Karahisar Kalesi yıkılır gelir

Gm7        Bbmaj7   Am7        Gm7       Am7  C
Kahkülü boynuna dökülür gelir, dökülür gelir
Bbmaj7     Am7      Gm7   Am7  Fmaj7  Em7b5  Am7
Kahkülü boynuna dökülür gelir, döküüüülür gelir

Dm7  Gm7        Dm7     Bbmaj7  Am7
Yayladan gel allı gelin yaylaaaadan
Dm7  Gm7    Bbmaj7  Am7      Gm7  Fmaj7  Gm7      Am7
Kessssme ümidiiiiiiini kadir mevladan, kadir mevladan
Dm7  Gm7  Bbmaj7    Am7    Gm7  Fmaj7  Gm7        Am7
Ver elini kaarrrrlı dağlar aşaaalım,   bayramlaşalım

Dm7           Am7   Bbmaj7       Dm7
Ben bir koyun olsam sen de bir kuzu

Gm7      Bbmaj7   Am7       Gm7       Am7  C
Meleye meleye getirek yazı, getirek yazı
Bbmaj7   Am7      Gm7   Am7  Fmaj7  Em7b5  Am7
Meleye meleye getirek yazı,  getiiiirek  yazı

Dm7  Gm7        Dm7     Bbmaj7  Am7
Yayladan gel allı gelin yaylaaaadan
Dm7  Gm7    Bbmaj7  Am7      Gm7  Fmaj7  Gm7      Am7
Kessssme ümidiiiiiiini kadir mevladan, kadir mevladan
Dm7  Gm7  Bbmaj7    Am7    Gm7  Fmaj7  Gm7        Am7
Ver elini kaarrrrlı dağlar aşaaalım,   bayramlaşalım

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İkilem - Karahisar Kalesi Tabs

NotesX

Harmony analysis

İkilem – Karahisar Kalesi: key and chord analysis

The song opens on Dm7 and ends on Am7. 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)

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 and Dm is heard 14 times against 6 for F. 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
Imaj7	Fmaj7	Tonic — home	F · A · C · E	6×
ii7	Gm7	Supertonic — prepares the dominant	G · Bb · D · F	23×
iii7	Am7	Mediant — a tonic-family shade	A · C · E · G	24×
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	13×
V	C	Dominant — strongest pull home	C · E · G	2×
vi7	Dm7	Relative minor — the melancholy side	D · F · A · C	14×
viiø7	Em7b5	Leading-tone chord — tension	E · G · Bb · D	2×

Seen from D minor
Degree	Chord	Role	Notes	In song
i7	Dm7	Tonic — home	D · F · A · C	14×
iiø7	Em7b5	Supertonic — prepares the dominant	E · G · Bb · D	2×
IIImaj7	Fmaj7	Relative major — the bright side	F · A · C · E	6×
iv7	Gm7	Subdominant — moves away from home	G · Bb · D · F	23×
v7	Am7	Minor dominant — soft pull	A · C · E · G	24×
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	13×
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). 7 different chords appear 84 times in total; 7 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 ×8
Gm7 Dm7 Fii7 → vi7 Dmiv7 → i7minor plagal ×3
Bbmaj7 Dm7 FIVmaj7 → vi7 DmVImaj7 → i7VI → i ×2

The move to watch is Am7 → Dm7, heard 8 times. From the Dm side it is v7 → i7 (natural-minor cadence: gentle, modal arrival); from the F side it reads iii7 → vi7. 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 Dm7, land on D, F, A — 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

Starting on Dm7, the song gives away its key from the very first bar. Am7, Gm7, Dm7, Bbmaj7 carry the song: iii7–ii7–vi7–IVmaj7 relative to F, v7–iv7–i7–VImaj7 relative to 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. The final chord is Am7; 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.