Skapova - Neden Olmasın - Chord

Key F major – D minor Chords Dm, Gm, Bb, A, F Easy key C (capo 5)

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Capo 0

Gm  F
   Olmayacak galiba ya
              Dm
Neden olmasın ya
                 Gm
Neden olmasın bu aşk

Neden olmasın bu taş

Kalbin çatlasın ve ortadan ikiye yarılsın
Bb
Ahhhh ayrılığa sebebimiz olmasın
       A
İçinde hep bu cümle çınlasın


Akıttığım gözyaşları gökyüzünde dağılsın ve şemsiyeni yoklasın
Dm
Ya yarın olmasın, günlerin çuvala girip deyimlerde yaşasın
Gm
Yaa artık buradasın, nereye baksam oradasın… desеm de inanmazsın
     Bb
Haklısın

Ben bir kurnazım, tuzaklarla kuruluyum ama
                  Dm
Bu en iyi niyеtli kumpasım

Yarın olmasın
A
Bunca şeye rağmen neden olmasın

Dm                                                    Gm
Aşk, seni bir kere görmedim iyi niyetinle şu kapıma dayan
                                              Bb
Beni bir kere görmedin ama kafamın içindeki isyan
                                           A
Olan oldu ama niye olur gibi oldu bu anlamadım
                                   Dm
Meşki bırak, benim aradığım sadece aşk

Dm  Gm  Bb  A

Dm
Bu şarkıyı sana yazdım, klibi aynada seyret
                                          Gm
Karşında var hayalet ve biraz daha hayal eet
                                                       Bb
Açık denizlerde bu kafam, derin dalgalarda boğuldum, aman

Size sormadım, olmadı hiçbir zaman
                               A
Dünüm olmadı yarınıma kadar ilacım

Beni sormayın, sözlerimi çekin fesata
                              Dm
Derdimi anladım bu gece nakarata

Dm                                                    Gm
Aşk, seni bir kere görmedim iyi niyetinle şu kapıma dayan
                                              Bb
Beni bir kere görmedin ama kafamın içindeki isyan
                                           A
Olan oldu ama niye olur gibi oldu bu anlamadım
                                   Dm
Meşki bırak, benim aradığım sadece aşk

End of song Play again?

Skapova - Neden Olmasın Tabs

NotesX

Harmony analysis

Skapova – Neden Olmasın: key and chord analysis

The song opens on Gm and ends on Dm. Its chords belong to both F major and Dm, so every chord below is read both ways.

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)

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 comes to rest on Dm, Dm is heard 10 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	1×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	7×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	6×
IV	Bb	Subdominant — moves away from home	Bb · D · F	6×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	10×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	10×
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	7×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	6×
VI	Bb	Submediant — warm colour	Bb · D · F	6×
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 30 times in total; 4 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 A is V/vi, a secondary dominant heading for Dm.

Chord movement

A Dm FV/vi → vi DmV → iharmonic-minor cadence ×6
Bb Dm FIV → vi DmVI → iVI → i ×1

The move to watch is A → Dm, heard 6 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → 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 Bb, land on Bb, D, F — 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

The opening Gm lays a solid floor for everything that follows. The backbone is Dm, Gm, Bb, A — vi–ii–IV–V/vi from the F side, i–iv–VI–V from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. It closes on Dm, letting the Dm 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.