Levent Yüksel - Karaağaç - Chord

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

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Capo 0

Dm           Gm
Yar gidiyor musun
F        D#         Dm
Gitme, içimde bir korku var
Gm               F     D#    Dm
Biliyor musun böyle başlar ayrılıklar

Dm                Gm
Gel biraz kokunu bırak
F              D#      Dm
Baharımı al soğuktur oralar
Gm                F     D#     Dm
Ağlıyor musun ağlama hayırlar uğurlar

Gm              F              Cm
Gurbete giden döner mi dönmez mi 
               F              
Belli değil bilirim              
Bb                  D#              
Ben bir karaagaç gölgesi buldum 
Cm           Dm                
Cebimde ümitlerim

End of song Play again?

Levent Yüksel - Karaağaç Tabs

NotesX

Harmony analysis

Levent Yüksel – Karaağaç: 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 7 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	5×
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	1×
V	C	Dominant — strongest pull home	C · E · G	—
v	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×
vi	Dm	Relative minor — the melancholy side	D · F · A	7×
bVII	D#	bVII — borrowed (Mixolydian / parallel minor)borrowed chord	D# · G · A#	5×
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	7×
bII	D#	Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord	D# · G · A#	5×
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	5×
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	1×
VII	C	Subtonic — steps back to the tonic	C · E · G	—
vii	Cm	Chromatic colour chordoutside the key	C · Eb · G	2×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 26 times in total; 4 of them sit naturally inside the shared scale. D# is borrowed from the parallel minor, adding a darker shade to the major side.

Chord movement

There's no textbook cadence here; the chords circle around each other in a loop, so the song feels more like a groove than a series of arrivals.

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 F, land on F, A, C — 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.
On D#, follow the chord's notes (D# · G · A#) 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
3 semitones down · capo 3 keeps the original pitch

The song's harmonic story

The opening Dm lays a solid floor for everything that follows. Dm, F, Gm, D# carry the song: vi–I–ii–bVII relative to F, i–III–iv–bII relative to Dm. D# briefly darkens the picture: bvii — borrowed (mixolydian / parallel minor). 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.