Siyam - Kaçar Oldum - Chord

Key F major – D minor Chords Dm, A7, Gm, C, Am Easy key C (capo 5)

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Capo 0

Dm  Dm  Am  Gm  A7

Dm
Kaçar oldum kaderimden

Kimi sevsem aldı elimden
C
Kaça böldün bilmiyorsun
Gm             A7
Neler harcadın ömrümden

Dm
Ne olursun yeniden gel

Sevgin azalmadı kalbimden
C
Ama yordun, bu bi vurgun
Gm             A7
Neler harcadın ömrümden

Dm
Kapanmıyor derin yaram

Sen olmasan kim sarar

Ahvalim darmaduman farkındayım
C
Dön geri n’olur, çok uzun yolum

Sensiz ilerlemesi zor

Dm
Bozulur dengem önümde engel

El uzat kaldır düştüğüm yerden
C
Uzağım evden yakam kederden
Gm                  A7
Düşmez hiç bıraktın bi başıma neden

Dm
Kaçar oldum kaderimden

Kimi sevsem aldı elimden
C
Kaça böldün bilmiyorsun
Gm             A7
Neler harcadın ömrümden

Dm
Ne olursun yeniden gel

Sevgin azalmadı kalbimden
C
Ama yordun, bu bi vurgun
Gm             A7
Neler harcadın ömrümden

Dm  Dm  C  Gm  A7

Dm
Bi farkı yok her gün aynı keder

Azalmıyo derdim etti derbeder
A7
Kaderimim önsözünde yazılı dert
Gm             A7
Kalır izi yine de silseler

End of song Play again?

Siyam - Kaçar Oldum Tabs

NotesX

Harmony analysis

Siyam – Kaçar Oldum: key and chord analysis

The song opens on Dm and ends on A7. 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 opens on Dm, Dm is heard 11 times while F never appears 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	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	8×
iii	Am	Mediant — a tonic-family shade	A · C · E	1×
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	9×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	7×
vi	Dm	Relative minor — the melancholy side	D · F · A	11×
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	11×
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	8×
v	Am	Minor dominant — soft pull	A · C · E	1×
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	9×
VI	Bb	Submediant — warm colour	Bb · D · F	—
VII	C	Subtonic — steps back to the tonic	C · E · G	7×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 36 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 A7 is V7/vi, a secondary dominant heading for Dm.

Chord movement

Gm A7 Fii → V7/vi Dmiv → V7iv → V ×8
A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×7
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1

The move to watch is Gm → A7, heard 8 times. From the Dm side it is iv → V7 (iv → V: the minor side's tension builder); from the F side it reads ii → V7/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 A7, land on A, C#, E — 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.
When A7 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

Starting on Dm, the song gives away its key from the very first bar. Dm, A7, Gm, C carry the song: vi–V7/vi–ii–V relative to F, i–V7–iv–VII relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on Gm → A7 (ii → V7/vi in F, iv → V7 in Dm): iv → V — the minor side's tension builder. Ending on A7, 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.