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)
Tekir - Ne Gereği Var - Chord
Key F major – D minor Chords Bbmaj7, Am, C Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Bbmaj7 Am Bbmaj7 Am Bbmaj7 C Bbmaj7 Am Bbmaj7 Çek elini sal beni yettin canıma Am Bbmaj7 Ben kendimi toplarım kendi başıma Am Bbmaj7 Ve başımı yaslarım kendi omzuma C Bbmaj7 Am Bi dileğim var, ama ne gereği vaaar? Am Bbmaj7 Am Bbmaj7 Yüreğimin tellerine kondun oydun gözlerimi Am Bbmaj7 C Bbmaj7 İçerime sen yerine koydum soysuz közlerini Am Bbmaj7 Am Bbmaj7 Bu düşmediğim ilk kavga değil, ben haydan gelenim Am Bbmaj7 C Bbmaj7 Bu beslediğim ilk karga değil ben hayvanseverim Am Bbmaj7 Ağrıtıyor göğsümüzü sefil ağıtlar Am Bbmaj7 Ve yarınki hüznümüze kefil sarılmak Am Bbmaj7 Düş payıyla kalp kaçırdı seni nasılsa C Bbmaj7 Aklında bilmem kaçıncı tekil şahıssam Am Bbmaj7 Çek elini sal beni yettin canıma Am Bbmaj7 Ben kendimi toplarım kendi başıma Am Bbmaj7 Ve başımı yaslarım kendi omzuma C Bbmaj7 Am Bi dileğim var, ama ne gereği vaaar?
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Tekir - Ne Gereği Var Tabs
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Harmony analysis
Tekir – Ne Gereği Var: 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 | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 20× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IVmaj7 | Bbmaj7 | Subdominant — moves away from home | Bb · D · F · A | 24× |
| V | C | Dominant — strongest pull home | C · E · G | 6× |
| 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 | — |
| v | Am | Minor dominant — soft pull | A · C · E | 20× |
| 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 | 24× |
| 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). 3 different chords appear 50 times in total; 3 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 C FIVmaj7 → VIV → V DmVImaj7 → VIIVI → VII ×6
The move to watch is Bbmaj7 → C, heard 6 times. From the F side it reads IVmaj7 → V (IV → V: the lift that builds tension before home); from the Dm side it is VImaj7 → VII (VI → VII: the rising step that heads for the tonic). 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 Bbmaj7, land on Bb, D, F — 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 C, land on C, E, G — 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 backbone is Bbmaj7, Am, C — IVmaj7–iii–V from the F side, VImaj7–v–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bbmaj7 → C (IVmaj7 → V in F, VImaj7 → VII in Dm): IV → V — the lift that builds tension before home. 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.
Tekir - Ne Gereği Var 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: TekirMusic: TekirArrangement: TKR
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