Duman - Öyle Dertli - Chord

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

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Capo 0

Dm      C    Gm      C       
Kanar gibi yaramı dağlarım 
Dm      C    Gm      C
Yanar içim yine de saklarım 
Dm    C   Gm    C   Bb   A   Dm  
Geçmez sözün bir bana geçmez gücün yetmez 

Dm    Gm    Bb    F 

Dm      C   Gm       C
Koşar gibi ölüme atlarım 
Dm      C   Gm       C
Ezip geçer yine de kalkarım 
Dm   C     Gm     C        Bb
Yetmez gücün bir bana yetmez 
A       Dm  C Bb A    Dm   
Sözün geçmez gücün yetmez 

Bb   C   Gm   Bb   A   Dbm  

Dm           C      Gm    Am       Gm     Am    Gm
Öyle dertli dertli bakma gören olmaz, gören olmaz
Dm           C      Gm    Am    Gm     Am   Gm   
Kalbinden söyler ama duyan olmaz, duyan olmaz 

Dm   Gm   Bb   F 

Dm       C   Gm      C
Kaçar gibi geriye bakmadım 
Dm       C   Gm      C
Akıp gider içime gözyaşım 
Dm   C     Gm     C        Bb
Yetmez gücün bir bana yetmez 
A      Dm C Bb A     Dm   
Sözün geçmez gücün yetmez  

Bb   C   Gm   Bb   A   Dbm  

Dm            C     Gm     Am     Gm       Am   Gm
Öyle dertli dertli bakma gören olmaz, gören olmaz
Dm            C     Gm    Am    Gm    Am    Gm   
Kalbinden söyler ama duyan olmaz, duyan olmaz

End of song Play again?

Duman - Öyle Dertli Tabs

NotesX

Harmony analysis

Duman – Öyle Dertli: key and chord analysis

The song opens on Dm and ends on Gm. 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 20 times against 2 for F 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	2×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	25×
iii	Am	Mediant — a tonic-family shade	A · C · E	8×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	7×
IV	Bb	Subdominant — moves away from home	Bb · D · F	11×
V	C	Dominant — strongest pull home	C · E · G	26×
bvi	Dbm	Chromatic colour chordoutside the key	Db · Fb · Ab	2×
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	2×
iv	Gm	Subdominant — moves away from home	G · Bb · D	25×
v	Am	Minor dominant — soft pull	A · C · E	8×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	7×
VI	Bb	Submediant — warm colour	Bb · D · F	11×
VII	C	Subtonic — steps back to the tonic	C · E · G	26×
#vii	Dbm	Chromatic colour chordoutside the key	Db · Fb · Ab	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 8 different chords appear 101 times in total; 6 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 A is V/vi, a secondary dominant heading for Dm. Dbm step outside the scale as colour chords.

Chord movement

Gm C Fii → Vii → V Dmiv → VII ×9
C Dm FV → videceptive cadence DmVII → iAeolian arrival ×6
A Dm FV/vi → vi DmV → iharmonic-minor cadence ×5
Gm Dm Fii → vi Dmiv → iminor plagal ×3
Bb F FIV → Iplagal cadence DmVI → III ×2
Bb C FIV → VIV → V DmVI → VIIVI → VII ×2

The move to watch is Gm → C, heard 9 times. From the Dm side it is iv → VII; from the F side it reads ii → V (ii → V: the classic preparation of the dominant). 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 C, land on C, E, G — 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
When A 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. The backbone is C, Gm, Dm, Bb — V–ii–vi–IV from the F side, VII–iv–i–VI from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. The final chord is Gm; 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.