Duman - Yürekten - Chord

Key F major – D minor Chords Am, Bb, Dm, C, Gm, F, C# Easy key G

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Capo 0

Gm  F   Dm  C
Sevdim sandım
Gm   F    Dm    C
Sevildim sanırdım
Am Bb  Am Bb
Sonra uyandım
Am   Bb    Am    Bb
Sonunda ben anladım    

Gm F   Dm  C
Ayrı kaldım
Gm   F   Dm    C
Ayıldım bayıldım
Am Bb  Am Bb
Sonra uyandım
Am   Bb    Am    Bb
Sonunda ben anladım    

Dm                 Am
Öyle yürekten seviyorsan
Bb            C     C#
Aklı başından atacaksın
Dm              Am
Kimi yanında arıyorsan
Bb           C      C#
Önce içinde bulacaksın    

Gm F   Dm  C
Aklım nerde
Gm F   Dm    C
Kaçırdım seninle
Am Bb  Am Bb
Sorma ne halde
Am   Bb    Am    Bb
Sorulmaz bu kimseye

End of song Play again?

Duman - Yürekten Tabs

NotesX

Harmony analysis

Duman – Yürekten: key and chord analysis

The song opens on Gm and ends on Bb. 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 Dm is heard 8 times against 6 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	6×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	14×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	14×
V	C	Dominant — strongest pull home	C · E · G	8×
bVI	C#	Borrowed from the parallel minorborrowed chord	C# · E# · G#	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	8×
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	8×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
III	F	Relative major — the bright side	F · A · C	6×
iv	Gm	Subdominant — moves away from home	G · Bb · D	6×
v	Am	Minor dominant — soft pull	A · C · E	14×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	14×
VII	C	Subtonic — steps back to the tonic	C · E · G	8×
#VII	C#	Chromatic colour chordoutside the key	C# · E# · G#	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 7 different chords appear 58 times in total; 6 of them sit naturally inside the shared scale. C# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

Bb C FIV → VIV → V DmVI → VIIVI → VII ×2
Bb Dm FIV → vi DmVI → iVI → i ×1

The move to watch is Bb → C, heard 2 times. From the Dm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the F side it reads IV → V (IV → V: the lift that builds tension before home). 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 Am, land on A, C, E — the chord's own tones always sound right on strong beats.
Over Bb, land on Bb, D, F — 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.
On C#, follow the chord's notes (C# · E# · G#) rather than the key's scale — it's a borrowed colour.

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 Gm; the ear learns where home is within a second. Am, Bb, Dm, C carry the song: iii–IV–vi–V relative to F, v–VI–i–VII relative to Dm. C# briefly darkens the picture: borrowed from the parallel minor. Keep an ear on Bb → C (IV → V in F, VI → VII in Dm): VI → VII — the rising step that heads for the tonic. The final chord is Bb; 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.