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)
Kaan Boşnak - Güzel Değil - Chord
Key F major – D minor Chords G, Am, Dm, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Ruhuna zincirler vurdun G Dm Am Kendin yaptın kimse değil Güzelliğe tapar oldun G Dm Am Güzel sen tap diye değil Dm Her gördüğün güzel sandın Her gördüğün güzel sandın F G Güzel öyle bir şey değil F G Am Güzel öyle bir şey değil Am Binbir milyon yıl yaşlandın G Dm Am Benliğinden caymadın mı Sanki hoşluk bulduğunda G Dm Am Gülücükler saçmadın mı Dm Her döngüyü düzen sandın Her döngüyü düzen sandın F G Düzen böyle bir şey değil F G Düzen böyle bir şey değil
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Kaan Boşnak - Güzel Değil Tabs
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Harmony analysis
Kaan Boşnak – Güzel Değil: key and chord analysis
The song opens on Am and ends on G. 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: to us the song feels closer to the D minor side because Dm is heard 6 times against 4 for F. 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| II | G | Chromatic colour chordoutside the key | G · B · D | 8× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 7× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| 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 | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| IV | G | Major IV — Dorian / melodic-minor colourmodal colour | G · B · D | 8× |
| v | Am | Minor dominant — soft pull | A · C · E | 7× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| 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). 4 different chords appear 25 times in total; 3 of them sit naturally inside the shared scale. G step outside the scale as colour chords.
Chord movement
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
The move to watch is Am → Dm, heard 2 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → 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 G, land on G, B, D — 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 Dm, land on D, F, A — 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
The song's harmonic story
The first chord is Am; the ear learns where home is within a second. The backbone is G, Am, Dm, F — II–iii–vi–I from the F side, IV–v–i–III from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. The final chord is G; the ear comes to rest in F.
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.
Kaan Boşnak - Güzel Değil 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: Kaan BoşnakMusic: Kaan Boşnak
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