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)
Mehmet Erdem - Olur Ya - Chord
Key F major – D minor Chords Dm, Gm, A, E Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Gm Dm A Dm
Gm Dm E A Dm
Gm Dm
Gel birer çocuk olalım, o günden başlayalım
A Dm
Gözlerimiz buluşsun, ilk kez bakışalım
Gm Dm
Ne dün ne de yarın kalsın, biz yeniden doğalım
E A Dm
İlk söz dudağında, olsun benim adım
Gm Dm
Olur ya, kalbinde yer bulur da
A Dm
Yerleşirim yıllarca, seversin sonunda
Gm Dm
Olur ya, evet dersin aşkıma
E A Dm
Şeytana uyarsın da, olmaz mı olur ya
Gm Dm
Olur ya, tüm saatler durur da
A Dm
Sonsuza dek yanımda, kalırsın olur ya
Gm Dm
Olur ya, ateş bacayı sarar da
E A Dm
Yanmaz dersin yanar da, olmaz mı olur ya
End of song Play again?
Mehmet Erdem - Olur Ya Tabs
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Harmony analysis
Mehmet Erdem – Olur Ya: 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.
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 comes to rest on Dm, Dm is heard 16 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 8× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 8× |
| 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 | 16× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| V/iii | E | Secondary dominant V/iii — leads to Amsecondary dominant | E · G# · B | 4× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 16× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| V/v | E | Secondary dominant V/v — leads to Amsecondary dominant | E · G# · B | 4× |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 8× |
| 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 | 8× |
| 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 36 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 A is V/vi, a secondary dominant heading for Dm. E acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×8
- Gm Dm Fii → vi Dmiv → iminor plagal ×8
The move to watch is A → Dm, heard 8 times. From the Dm side it is V → i (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V/vi → 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 A, land on A, C#, E — 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
The song's harmonic story
The opening Gm lays a solid floor for everything that follows. Dm, Gm, A, E carry the song: vi–ii–V/vi–V/iii relative to F, i–iv–V–V/v relative to Dm. 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 A → Dm (V/vi → vi in F, V → i in Dm): harmonic-minor cadence — the major V resolves dramatically. 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.
Mehmet Erdem - Olur Ya 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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