Kıraç - Eşşeği Saldım Çayıra - Chord

Key F major – D minor Chords F, Gm, C, Bb, Cm, Eb Easy key D (capo 3)

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Capo 0

Gm   Bb   F   Gm

F                      C
Eşşeği saldım çayıra otlaya karnın doyura 
Bb                   C
Gördüğü düşü hayıra yoranında avradını 

Cm                      Gm
Münkür münafığın soyu yaktı harab etti köyü 
F                       Eb
Ölüsüne bir tas suyu dökeninde avradını  
 
F                       C
Derince kazın kuyusun inim inim inilesin  
Bb                     C
Kefenin diken iğnesin dikeninde avradını 

Cm                     Gm
Kazak aslan lütfeyledi yaktı köyü mahveyledi 
F                      Eb
Sorarlarsa kim söyledi soranında avradını

End of song Play again?

Kıraç - Eşşeği Saldım Çayıra Tabs

NotesX

Harmony analysis

Kıraç – Eşşeği Saldım Çayıra: key and chord analysis

The song opens on Gm and ends on Eb. 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 F major side because F is heard 5 times while Dm never appears. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.

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	5×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	—
III	A	Chromatic colour chordoutside the key	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	3×
V	C	Dominant — strongest pull home	C · E · G	4×
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	—
bVII	Eb	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	Eb · G · Bb	2×
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	—
bII	Eb	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	Eb · G · Bb	2×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	5×
iv	Gm	Subdominant — moves away from home	G · Bb · D	4×
v	Am	Minor dominant — soft pull	A · C · E	—
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	3×
VII	C	Subtonic — steps back to the tonic	C · E · G	4×
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 20 times in total; 4 of them sit naturally inside the shared scale. Eb is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
Bb F FIV → Iplagal cadence DmVI → III ×1
Eb F FbVII → IbVII → I DmbII → III ×1

The move to watch is Bb → C, heard 2 times. From the F side it reads IV → V (IV → V: the lift that builds tension before home); from the Dm side it is VI → 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 F, land on F, A, C — 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 C, land on C, E, G — the chord's own tones always sound right on strong beats.
On Eb, follow the chord's notes (Eb · G · Bb) rather than the key's scale — it's a borrowed colour.

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

3 semitones down · capo 3 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Gm; the ear learns where home is within a second. F, Gm, C, Bb carry the song: I–ii–V–IV relative to F, III–iv–VII–VI relative to Dm. Eb briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): IV → V — the lift that builds tension before home. It closes on Eb, letting the F side have the last word.

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.