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)
Yoklukta Gider - Evvelden Halüsinasyonlar - Chord
Key F major – D minor Chords Dm, Gm, Am, Bb, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Dm Gm Dm Gm Dm Gm Am Dm
Dm Gm
Başımda belalar her gece
Am
Evvelden halüsinasyonlar
Dm
Bu kötü durumlar
Dm Gm
Beni bırak yine gör beni yolda
Am
Yine sev beni zorla
Dm
Bana yangın yeri sorma
Dm Gm Dm Bb Dm Gm Am
Gözlerinde boğulsamdı sözlerim ve özledim
Dm Gm
Sevemem bu saatten sonra
Dm Gm
Geri dönmezdim de aslında
Dm Gm
Uykularım kaçsa da
Am Dm Am
Seni kalbime gizlerim
Dm Gm
Gözlerinin buğusunda
Dm Gm
Saçlarının dalgasında
Dm Gm
Karanlık sokağın ortasında
Am Dm Am
Beni öpmeni özledim
Dm Gm
Samanyolunda yıldızlar var
F Dm
Gökyüzünde suçlular
Gm
Hapsolmuş yalan duygular
Am Dm
Yalnız mı kaldılar
End of song Play again?
Yoklukta Gider - Evvelden Halüsinasyonlar Tabs
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Harmony analysis
Yoklukta Gider – Evvelden Halüsinasyonlar: 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)
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 and Dm is heard 22 times against 1 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 1× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 15× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 9× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 1× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 22× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 22× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 1× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 15× |
| v | Am | Minor dominant — soft pull | A · C · E | 9× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 1× |
| 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). 5 different chords appear 48 times in total; 5 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
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×9
- Gm Dm Fii → vi Dmiv → iminor plagal ×7
- Bb Dm FIV → vi DmVI → iVI → i ×1
The move to watch is Am → Dm, heard 9 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 Gm, land on G, Bb, D — the chord's own tones always sound right on strong beats.
- Over Am, land on A, C, E — 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 first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Gm, Am, Bb; read them as vi–ii–iii–IV in F or i–iv–v–VI in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is Dm; the ear comes to rest in Dm.
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.
Yoklukta Gider - Evvelden Halüsinasyonlar 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: Buğra GökMusic: Tunahan KarahanArrangement: Tunahan Karahan, Buğra Gök
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