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)
Yok Öyle Kararlı Seyler - Kalabalıklar - Chord
Key F major – D minor Chords Dm, A7, Gm, Bbmaj7, A, F, Edim, D Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Gm A Dm
Dm Gm A7 Dm
Henüz fikrine bir inanan olmadıysa
Gm A7 Dm
Fazla düşünme ne olur kendinden bir şüphe duyma
Gm A7 Dm
Ben size uymadıysam bu benim ihtiyacım olmadığından
Gm A7 Dm
İster az olun ister çok kendim olmadan yaşayamam
Bbmaj7 A7 Dm F Edim Dm
Beni sevmiyor kalabalıklar, kalabaalıklar
Bbmaj7 A7 Dm D
Hiç tükenmiyor bu saçmalıklar, saçmalıklar
Gm A7 Dm Bbmaj7 A7 Dm
Ah bin kere bağırsam da hiç bir kere duymadılar
Dm Gm A7 Dm
Sen kendine sahiden güveniyorsan
Gm A7 Dm
Sorma kimseye ne olur kilometrelerce yorumlarlar
Gm A7 Dm
Ben güce tapmadıysam bu benim ihtiyacım olmadığından
Gm A7 Dm
İsterse az olun ister çok kendim olmadan yaşayamam
End of song Play again?
Yok Öyle Kararlı Seyler - Kalabalıklar Tabs
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Harmony analysis
Yok Öyle Kararlı Seyler – Kalabalıklar: 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.
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 17 times against 1 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 1× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 10× |
| 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 | 12× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 1× |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 3× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 17× |
| V/ii | D | Secondary dominant V/ii — leads to Gmsecondary dominant | D · F# · A | 1× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 17× |
| V/iv | D | Secondary dominant V/iv — leads to Gmsecondary dominant | D · F# · A | 1× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | 1× |
| III | F | Relative major — the bright side | F · A · C | 1× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 10× |
| 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 | 12× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | 1× |
| VImaj7 | Bbmaj7 | Submediant — warm colour | Bb · D · F · A | 3× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 8 different chords appear 46 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 / A is V7/vi, a secondary dominant heading for Dm. D acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×12
- Gm A7 Fii → V7/vi Dmiv → V7iv → V ×9
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×1
- Gm A Fii → V/vi Dmiv → Viv → V ×1
The move to watch is A7 → Dm, heard 12 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 A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- When A 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. Dm, A7, Gm, Bbmaj7 carry the song: vi–V7/vi–ii–IVmaj7 relative to F, i–V7–iv–VImaj7 relative to 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 Dm, the song seals Dm 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.
Yok Öyle Kararlı Seyler - Kalabalıklar 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: Erdem TopsakalMusic: Erdem Topsakal
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