Eypio - Mülteci - Chord

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

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Capo 0

Dm  Gm  A7  Dm
x2

Dm                 Gm
Sınırda bi duvardın ben de mülteci gibi
A7              Dm
Görüp de aşamadım seni
                    Gm
Dikenli tellerin var kesiyor her yerimi
A7               Dm
Ben ondan aşamadım seni

Dm                Gm
Canınla oyna kumar ölmeden gözlerini
A7               Dm
Demek ki yaşamadım seni
                    Gm
Ben ölmek istemezdim tutmadan ellerini
A7                  Dm
Gelip de bi gömseydin beni

Dm  Gm  A7  Dm
x2

Dm
Greenpeace gibiyim yeşille başladım
Gm
Çalıştım konfeksiyon kot da taşladım
A7
Votkayla Rusya'da makarna haşladım
        Dm
Benim kızım baba dediğinde otuzdu yaşlarım

Dm
Yirmi küsürlerinde çatıktı kaşlarım
Gm
On beşinde hep nasırla dol avuçlarım
A7
Hayat dediğin filmi oğlum hep karışladım
         Dm
S...nler hep tanışlarım bu rapler haykırışlarım

Dm                 Gm
Sınırda bi duvardın ben de mülteci gibi
A7              Dm
Görüp de aşamadım seni
                    Gm
Dikenli tellerin var kesiyor her yerimi
A7               Dm
Ben ondan aşamadım seni

Dm                Gm
Canınla oyna kumar ölmeden gözlerini
A7               Dm
Demek ki yaşamadım seni
                    Gm
Ben ölmek istemezdim tutmadan ellerini
A7                  Dm
Gelip de bi gömseydin beni

End of song Play again?

Eypio - Mülteci Tabs

NotesX

Harmony analysis

Eypio – Mülteci: key and chord analysis

The song opens on Dm 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 both starts and finishes on Dm, Dm is heard 20 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	12×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V7/vi	A7	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E · G	12×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
V	C	Dominant — strongest pull home	C · E · G	—
vi	Dm	Relative minor — the melancholy side	D · F · A	20×
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	20×
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	12×
v	Am	Minor dominant — soft pull	A · C · E	—
V7	A7	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E · G	12×
VI	Bb	Submediant — warm colour	Bb · D · F	—
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 44 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; seen from F, the same A7 is V7/vi, a secondary dominant heading for Dm.

Chord movement

A7 Dm FV7/vi → visecondary resolution DmV7 → iharmonic-minor cadence ×12
Gm A7 Fii → V7/vi Dmiv → V7iv → V ×12

The move to watch is A7 → Dm, heard 12 times. From the Dm side it is V7 → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi (secondary resolution: A7 resolves a fourth up to Dm). 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 A7, land on A, C#, E — 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

The first chord is Dm; the ear learns where home is within a second. The backbone is Dm, Gm, A7 — vi–ii–V7/vi from the F side, i–iv–V7 from the Dm side. 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 A7 → Dm (V7/vi → vi in F, V7 → i in Dm): harmonic-minor cadence — the major V resolves dramatically. Ending on Dm, the song seals Dm 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.