Edis - Bir Yol - Chord

Key F major – D minor Chords Dm, Gm, Bb, Am, C Easy key G

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Capo 0

Gm  Dm  Gm  Dm

         Gm
Dökülsem dudağından
                Dm
Yıkıldım kaldım şuracıkta
               Gm
Dön bahar olur bana kışlar
               Dm
Vuruldu kalbim sana tutsak

      Gm                      Dm
Sönse bir anda bütün ışıklar, savrulup yorulsak
      Gm                      Dm
Şimdi yok olsam o kollarında, kendimi avutsam

Bb
Yapma son kez dinle
Dm
İçimde bir yangın var 
Gm
Delirdim bak aşkından
Dm
Tut elimden

Gm                 Dm
Bir yol? Yok mu hiçbir yol?
          Gm                Dm
Kalbim tekliyor, bak hiç geçmiyor
         Bb               Dm
Gözlerin bir ok, öldüm sanki of
         Gm     Am           Dm
Nerdeyim bir sor, yok mu bir yol?

Gm              Dm             Bb
Şimdi hayal mi oldu yaşananlar ah
    C           Dm
Çıkamazken aklımdan
  Bb                         Dm
Anla, yine sensizim gözlerim yolda
                      Gm
Beni öldürür hasretin sormaz
                Dm
Yer bitirir kurutur nefesi

        Gm
Peşimde aşk yakacak beni hep yüreğimden
Dm
Düşmüşüm yokluğuna ecelim sen
Gm
Kaç gece sabrederim bilemem ben
Dm
Kaç kere daha? 

         Bb
Savurdun esme dedikçe
    Dm                   Gm
Kal gitme dedikçe, kalan hislerimizle
      Dm
Ara ihtiyacım var son bir yalana

Gm                 Dm
Bir yol? Yok mu hiçbir yol?
          Gm                Dm
Kalbim tekliyor, bak hiç geçmiyor
         Bb               Dm
Gözlerin bir ok, öldüm sanki of
         Gm     Am           Dm
Nerdeyim bir sor, yok mu bir yol?

End of song Play again?

Edis - Bir Yol Tabs

NotesX

Harmony analysis

Edis – Bir Yol: 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)

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 and Dm is heard 24 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.

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	18×
iii	Am	Mediant — a tonic-family shade	A · C · E	2×
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	1×
vi	Dm	Relative minor — the melancholy side	D · F · A	24×
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	24×
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	18×
v	Am	Minor dominant — soft pull	A · C · E	2×
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	1×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 51 times in total; 5 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

Gm Dm Fii → vi Dmiv → iminor plagal ×16
Bb Dm FIV → vi DmVI → iVI → i ×5
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×1
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1

The move to watch is Gm → Dm, heard 16 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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.

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 opening Gm lays a solid floor for everything that follows. The backbone is Dm, Gm, Bb, Am — vi–ii–IV–iii from the F side, i–iv–VI–v from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. The final chord is Dm; the ear comes to rest in Dm.

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.