Can Gox - Haydar Haydar - Chord

Key F major – D minor Chords Dm, Bbmaj7, Am, C, F, Em11, Gm Easy key C (capo 5)

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Capo 0

Dm         C     F   Bbmaj7        Am   Dm
Ben melanet hırkasını kendim giydim eğnime
          C    Em11  Gm    Bbmaj7  Am    Dm
Ar-u namus şişesini   taşa çaldım   kime ne

Dm         C     F   Bbmaj7     Am  Dm
Gah çıkarım gökyüzüne seyrederim alemi
          C     Em11  Gm    Bbmaj7  Am    Dm
Gah inerim yeryüzüne   seyreder aaaalem beni

F          Bbmaj7       Am    Dm
Haydar Haydar seyreder alem beni

Dm        C     F     Bbmaj7      Am  Dm
Sofular haram demişler bu aşkın badesine
            C     Em11  Gm     Bbmaj7  Am    Dm
Ben doldurur ben içerim  günah benim    kime ne

F          Bbmaj7        Am    Dm
Haydar Haydar günah benim kime ne

Dm       C     F     Bbmaj7     Am     Dm
Nesimi’ye sordular da o yar ilen hoş musun
          C    Em11  Gm     Bbmaj7  Am    Dm
Hoş olayım olmayayım  o yar benim    kime ne

F          Bbmaj7        Am    Dm
Haydar Haydar o yar benim kime ne

End of song Play again?

Can Gox - Haydar Haydar Tabs

NotesX

Harmony analysis

Can Gox – Haydar Haydar: 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.

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 D minor side because it both starts and finishes on Dm and Dm is heard 15 times against 7 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	7×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	4×
iii	Am	Mediant — a tonic-family shade	A · C · E	11×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IVmaj7	Bbmaj7	Subdominant — moves away from home	Bb · D · F · A	11×
V	C	Dominant — strongest pull home	C · E · G	8×
vi	Dm	Relative minor — the melancholy side	D · F · A	15×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
vii7	Em11	Chromatic colour chordoutside the key	E · G · B · D · A	4×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	15×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
ii7	Em11	Chromatic colour chordoutside the key	E · G · B · D · A	4×
III	F	Relative major — the bright side	F · A · C	7×
iv	Gm	Subdominant — moves away from home	G · Bb · D	4×
v	Am	Minor dominant — soft pull	A · C · E	11×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VImaj7	Bbmaj7	Submediant — warm colour	Bb · D · F · A	11×
VII	C	Subtonic — steps back to the tonic	C · E · G	8×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 60 times in total; 6 of them sit naturally inside the shared scale. Em11 step outside the scale as colour chords.

Chord movement

Am Dm Fiii → vi Dmv → inatural-minor cadence ×11
C F FV → Iauthentic cadence DmVII → III ×4

The move to watch is Am → Dm, heard 11 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → 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 Bbmaj7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
Over Am, land on A, C, E — 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

5 semitones down · capo 5 keeps the original pitch
2 semitones up

The song's harmonic story

The first chord is Dm; the ear learns where home is within a second. Dm, Bbmaj7, Am, C carry the song: vi–IVmaj7–iii–V relative to F, i–VImaj7–v–VII relative to Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. It closes on Dm, letting the Dm 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.