Duman - Hele Hele Gur Gur - Chord

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

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Capo 0

Am  Am  Bb  Am
x4

A
Aman aman, yol yapmış yolcu duman

Hemen hemen, ormanlar oldu beton

Am              Bb       Am
Ayıldık bayıldık boyuna, vay vay
                  Bb       Am
Peşine de takıldık gezeriz toy toy
                  Bb                 Am
Hele hele gur gur, gurluyor midemiz, vay vay
                         Bb         Am
Deli deli bak bak bakıyor vatandaş, ay ay

A  A  Am  Bb  Am  Bb  Am  Bb  Am  Bb  Am

A
Aman aman, ev yapmış evli duman

Hemen hemen, kalmış bir kuru soğan

Am              Bb       Am
Ayıldık bayıldık boyuna, vay vay
                  Bb       Am
Peşine de takıldık gezeriz toy toy
                  Bb                 Am
Hele hele gur gur, gurluyor midemiz, vay vay
                         Bb         Am
Deli deli bak bak bakıyor vatandaş, ay ay

A
Aman aman, sallanıyor yer küre

Hemen hemen, yıkılmış bütün yöre

Am              Bb       Am
Ayıldık bayıldık boyuna, vay vay
                  Bb       Am
Peşine de takıldık gezeriz toy toy
                  Bb                 Am
Hele hele gur gur, gurluyor midemiz, vay vay
                         Bb         Am
Deli deli bak bak bakıyor vatandaş, ay ay

A
Aman aman, bindik bir alamete

Hemen hemen, gideriz kıyamete

Am              Bb       Am
Ayıldık bayıldık boyuna, vay vay
                  Bb       Am
Peşine de takıldık gezeriz toy toy
                  Bb                 Am
Hele hele gur gur, gurluyor midemiz, vay vay
                         Bb         Am
Deli deli bak bak bakıyor vatandaş, ay ay

End of song Play again?

Duman - Hele Hele Gur Gur Tabs

NotesX

Harmony analysis

Duman – Hele Hele Gur Gur: 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.

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 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	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	28×
III	A	Chromatic colour chordoutside the key	A · C# · E	6×
IV	Bb	Subdominant — moves away from home	Bb · D · F	21×
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	—
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	—
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	28×
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	21×
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). 3 different chords appear 55 times in total; 2 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.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 A, land on A, C#, E — 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

The song's harmonic story

Starting on Am, the song gives away its key from the very first bar. The backbone is Am, Bb, A — iii–IV–III from the F side, v–VI–V from the Dm side. A is the interesting twist: in F it is a chromatic chord (III), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Ending on Am, the song seals F as home.

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.