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)
Irmak Arıcı - Eften Püften - Chord
Key F major – D minor Chords Dm, Am, Bb, C Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Dm Am Bb C Dm Am Payıma dört duvar düşecekse Bb C Mahrum kalacaksam senden Dm Am Üstü kalsın hiç almayayım ben Bb C Aşk adamıymış, hani aşk nerede Dm Am O günü unuttum, sözümü tuttum Bb C Koşa koşa geldim, aç bence Dm Am Sebebi ziyaretim eften püften Bb C Uslu dur, üstüme gelme bi' lütfen Dm Am Yanlış anahtar doğru kapıdayım Bb C Nasipse gönlüne gircem
End of song Play again?
Irmak Arıcı - Eften Püften Tabs
NotesX
Harmony analysis
Irmak Arıcı – Eften Püften: 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 6 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 | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 6× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 6× |
| V | C | Dominant — strongest pull home | C · E · G | 6× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| 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 | — |
| v | Am | Minor dominant — soft pull | A · C · E | 6× |
| 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 | 6× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 24 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
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×6
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×5
The move to watch is Bb → C, heard 6 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 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.
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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
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, Am, Bb, C; read them as vi–iii–IV–V in F or i–v–VI–VII in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. It closes on C, letting the F side have the last word.
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.
Irmak Arıcı - Eften Püften 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Irmak Arıcı, Ömer Uçar Music: Irmak Arıcı, Ömer Uçar Arrangement: Arem Özgüç, Arman Aydın, Mehmet Erden
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.