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)
Kurtuluş Kuş - Gönül Meyhanesi - Chord
Key F major – D minor Chords Am, Bb, Gm, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am
Gönül meyhanesinde açtım yine bir şişe
Bb
Kalemim hiç bitmedi yazdım dize dize
Am
Beni duymadı dostlarım beni sevmedi o kadın
Gm C Bb Am
Beni görmedi kimseler çok içtim ben bu gece
Am
Rakıma buz koy cebime para
Sizde mutluluk bizde yara
Bb
Yalanları sakla düşersen dara
Am
Gülüşü güzel ama bahtı kara
Am
Aşkın bana parçalı bulutlu
Ama sen senin parçanı unuttun
Bb
Bu da sana yazdığım son şarkı
Am
Rakımdan çektim son yudumu
Am
Gönül meyhanesinde açtım yine bir şişe
Bb
Kalemim hiç bitmedi yazdım dize dize
Am
Beni duymadı dostlarım beni sevmedi o kadın
Gm C Bb Am
Beni görmedi kimseler çok içtim ben bu gece
End of song Play again?
Kurtuluş Kuş - Gönül Meyhanesi Tabs
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Harmony analysis
Kurtuluş Kuş – Gönül Meyhanesi: key and chord analysis
The song opens on Am and ends on Am. 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 2× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 10× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 2× |
| v | Am | Minor dominant — soft pull | A · C · E | 10× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 6× |
| 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). 4 different chords appear 20 times in total; 4 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
- Gm C Fii → Vii → V Dmiv → VII ×2
The move to watch is Gm → C, heard 2 times. From the F side it reads ii → V (ii → V: the classic preparation of the dominant); from the Dm side it is iv → VII. 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
- Over Bb, land on Bb, D, F — 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.
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 Am, the song gives away its key from the very first bar. The chords that keep coming back are Am, Bb, Gm, C; read them as iii–IV–ii–V in F or v–VI–iv–VII in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. The final chord is Am; 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.
Kurtuluş Kuş - Gönül Meyhanesi 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: Burak Bulut, Kurtuluş KuşMusic: Burak Bulut,Kurtuluş Kuş,Alaaddin Ergün,Doğanay KaradenizArrangement: Mustafa Ceceli
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