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)
Cengiz Özkan - Bir Ay Doğar - Chord
Key F major – D minor Chords Dm, Gm, F, C, Bb Easy key G
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Key: F | Dm
Capo: 0
Dm F Gm Dm C Bb Dm Dm Gm Dm Gm Bir ay doğar ilk akşamdan geceden neydem neydem geceden Dm F Gm Şavkı vurur pencereden bacadan Dm C Bb Dm Dağlar kışımış yolcum üşümüş nasıl edem ben Dm Gm Dm Gm Uykusuz mu kaldın dünkü geceden neydem neydem geceden Dm F Gm Uyan uyan yar sinene sar beni Dm C Bb Dm Dağlar kışımış yolcum üşümüş nasıl edem ben Dm F Gm Uyan uyan yar sinene sar beni Dm C Bb Dm Dağlar harâmı açma yaramı perişanım ben Dm Gm Dm Gm Yüce dağ başından aşırdn beni neydem neydem yar beni Dm F Gm Tükenmez dertlere düşürdün beni Dm C Bb Dm Dağlar kışımış yolcum üşümüş nasıl edem ben Dm Gm Dm Gm Madem soysuz göynün bende yoğudu neydem neydem yoğudu Dm F Gm Niye doğru yoldan şaşırdın beni Dm C Bb Dm Dağlar kışımış yolcum üşümüş perişanım ben Dm F Gm Niye doğru yoldan şaşırdın beni Dm C Bb Dm Dağlar harami açma yaramı perişanım ben Dm Gm Dm Gm Aşağıdan gelir eli boş değil neydem neydem boş değil Dm F Gm Söylerim söylerim göynüm hoş değil Dm C Bb Dm Dağlar kışımış yolcum üşümüş nasıl edem ben Dm Gm Dm Gm Bir güzeli bir çirkine vermişler neydem neydem vermişler Dm F Gm Baş yastığı gendisine eş değil Dm C Bb Dm Dağlar kışımış yolcum üşümüş nasıl edem ben Dm F Gm Baş yastığı gendisine eş değil Dm C Bb Dm Dağlar harâmı açma yaramı perişânım ben
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Cengiz Özkan - Bir Ay Doğar Tabs
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Harmony analysis
Cengiz Özkan – Bir Ay Doğar: 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.
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 it both starts and finishes on Dm and Dm is heard 42 times against 10 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 | 10× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 22× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 10× |
| V | C | Dominant — strongest pull home | C · E · G | 10× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 42× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 42× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 10× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 22× |
| 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 | 10× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 10× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 94 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Gm Dm Fii → vi Dmiv → iminor plagal ×22
- Bb Dm FIV → vi DmVI → iVI → i ×10
The move to watch is Gm → Dm, heard 22 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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 F, land on F, A, C — 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
- 2 semitones up
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
The first chord is Dm; the ear learns where home is within a second. The chords that keep coming back are Dm, Gm, F, C; read them as vi–ii–I–V in F or i–iv–III–VII in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. 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.
Cengiz Özkan - Bir Ay Doğar 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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