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)
Ebru Yaşar - Kehribar (Burak Bulut) - Chord
Key F major – D minor Chords Dm, Bbmaj7, Gm, Am, C Easy key C (capo 5)
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm Dm Bbmaj7 Bbmaj7
Dm
Sevgilim çok güzelsin
Düşmeyeceğim sana yine üzersin
Bbmaj7
Ritmi kalbimin çok düzensiz
Gm
Yaşamak denmez buna vur düzelsin
Am
Sevgilim çok özelsin
Düşerken elimi tutan da sendin
Gm
Ayrılık kapıyı çalarken
Dm Gm
Seni okuyamadım diye kaldı dersin
Bbmaj7
Makul kaderime yok teselli
Dm
Kimi seveyim kimi bu denli
Am
Konuşur olduk senli benli
Gm Am
İşte o karanlık yuttu beni
Bbmaj7
Kurumuş dal gibi gamzeleri
Dm
Bir adım daha atsam sendelerim
Am
Açtığın yaralar hayli derin ama
Gm
Kul kaderini yaşar ben de seni
Dm
Oy oy oy yedi beni ömrümden deli deli
Bbmaj7
Yıllanmış kehribarım çekmekten derdi seni
Am
Gözlerinin ehli benim ben unutmam derdi seni
Gm C
Aşkından tarumarım bu karanlık yuttu beni
End of song Play again?
Ebru Yaşar - Kehribar (Burak Bulut) Tabs
NotesX
Harmony analysis
Ebru Yaşar – Kehribar (Burak Bulut): key and chord analysis
The song opens on Dm and ends on C. 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 opens on Dm and Dm is heard 7 times while F never appears. 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 6× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 5× |
| 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 | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 1× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 7× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 7× |
| 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 | 6× |
| v | Am | Minor dominant — soft pull | A · C · E | 5× |
| 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 | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 1× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 25 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
- Bbmaj7 Dm FIVmaj7 → vi DmVImaj7 → iVI → i ×3
- Gm Dm Fii → vi Dmiv → iminor plagal ×2
- Gm C Fii → Vii → V Dmiv → VII ×1
The move to watch is Bbmaj7 → Dm, heard 3 times. From the Dm side it is VImaj7 → i (VI → i: falls a half step into home); from the F side it reads IVmaj7 → 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 Bbmaj7, 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
The opening Dm lays a solid floor for everything that follows. Dm, Bbmaj7, Gm, Am carry the song: vi–IVmaj7–ii–iii relative to F, i–VImaj7–iv–v relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → Dm (IVmaj7 → vi in F, VImaj7 → i in Dm): VI → i — falls a half step into home. The final chord is C; 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.
Ebru Yaşar - Kehribar (Burak Bulut) 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.
Repertoires with this song
Similar songs, ready to play: pick a list.
Lyrics: Burak BulutMusic: Burak BulutArrangement: Efe Can
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.