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)
Duman - Balık - Chord
Key F major – D minor Chords D5, Bb5, C5, G5 Easy key G
No ratings yet
or your user informations
Make it yours
Text size
Key: F | Dm
Capo: 0
Intro: D5 Bb5 C5 G5 D5 Bb5 C5 G5 Kaçan balık misali D5 Bb5 C5 G5 Şu giden kimin yari G5 Bb5 Takıl ağıma canım D5 C5 Tadına bakacağım D5 b5 C5 G5 Kokan balık misali D5 Bb5 C5 G5 Baştan çıkardı beni G5 Bb5 Takıl ağıma canım D5 C5 Tadına bakacağım D5 Bb5 C5 G5 Sudan çıkmış misali D5 Bb5 C5 G5 Yoldan çıkardı beni G5 Bb5 Takıl ağıma canım D5 C5 Tadına bakacağım
End of song Play again?
Duman - Balık Tabs
NotesX
Harmony analysis
Duman – Balık: key and chord analysis
The song opens on D5 and ends on C5. 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: we can't honestly pick a side here — the song moves freely between F major and D minor. Try reading the chords both ways and see which feels more like home to you.
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 | G5 | Supertonic — prepares the dominant | G · D | 9× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| 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 | Bb5 | Subdominant — moves away from home | Bb · F | 9× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | — |
| V | C5 | Dominant — strongest pull home | C · G | 9× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| VI | D5 | Relative minor — the melancholy side | D · A | 9× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | — |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | D5 | Tonic — home | D · A | 9× |
| i | Dm | Tonic — home | D · F · A | — |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| IV | G5 | Subdominant — moves away from home | G · D | 9× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| 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 | Bb5 | Submediant — warm colour | Bb · F | 9× |
| VI | Bb | Submediant — warm colour | Bb · D · F | — |
| VII | C5 | Subtonic — steps back to the tonic | C · G | 9× |
| 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; 4 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
- Bb5 C5 FIV → V DmVI → VIIVI → VII ×6
The move to watch is Bb5 → C5, heard 6 times. From the F side it reads IV → V; 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 D5, land on D, A — the chord's own tones always sound right on strong beats.
- Over Bb5, land on Bb, F — the chord's own tones always sound right on strong beats.
- Over C5, land on C, G — 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
Starting on D5, the song gives away its key from the very first bar. The chords that keep coming back are D5, Bb5, C5, G5; read them as VI–IV–V–II in F or I–VI–VII–IV in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb5 → C5 (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. Ending on C5, the song seals F 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.
Duman - Balık 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.
Find something to play next
Ready-made lists by difficulty and mood.
Lyrics: Batuhan MutlugilMusic: Batuhan Mutlugil
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.