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)
Ceylan Ertem - Uçurtma (Cihan Murtezaoglu) - Chord
Key F major – D minor Chords Bb, Am, C, F Easy key G
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Key: F | Dm
Capo: 0
Am Bb Am Bb Senden haber almadan nasıl çıkarım yollara, Am Bb Am Bb Tek dileğim bir ışık olsa da, Am Bb Am Bb Güneş hep sana doğar gözlerim kamaşsa da Am Bb Am Bb Seni görmez hiçbir şey, yanmazsam Bb C Am Bb F Bu bir uçurtmanın kaçışı belkide değil Bb C Am Bb F Bilmem, gökyüzünde aramak doğru da değil Am Bb Am Bb Senden haber almadan nasıl çıkarım yollara, Am Bb Am Bb Tek dileğim bir ışık olsa da, Am Bb Am Bb Güneş hep sana doğar gözlerim kamaşsa da Am Bb Am Bb Seni görmez hiçbir şey, sormazsam Bb C Am Bb F Bu bir uçurtmanın kaçışı belkide değil Bb C Am Bb F Bilmem, gökyüzünde aramak doğru da değil
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Ceylan Ertem - Uçurtma (Cihan Murtezaoglu) Tabs
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Harmony analysis
Ceylan Ertem – Uçurtma (Cihan Murtezaoglu): key and chord analysis
The song opens on Am and ends on F. 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 F major side because it comes to rest on F and F is heard 4 times while Dm never appears. That is an interpretation, not a rule — hearing the same chords from D minor is just as valid and teaches you something different.
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 | 4× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 20× |
| III | A | Chromatic colour chordoutside the key | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 24× |
| V | C | Dominant — strongest pull home | C · E · G | 4× |
| 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 | 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 | 4× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | 20× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 24× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 4× |
Analysis
The key pair is F major and its relative D minor (1 flat). 4 different chords appear 52 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
- Bb F FIV → Iplagal cadence DmVI → III ×4
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×4
The move to watch is Bb → F, heard 4 times. From the F side it reads IV → I (plagal cadence: the soft 'amen' ending); from the Dm side it is VI → III. 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 Bb, 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.
- Over C, land on C, E, 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
- 3 semitones down · capo 3 keeps the original pitch
The song's harmonic story
Starting on Am, the song gives away its key from the very first bar. The backbone is Bb, Am, C, F — IV–iii–V–I from the F side, VI–v–VII–III from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Bb → F (IV → I in F, VI → III in Dm): plagal cadence — the soft 'amen' ending. It closes on F, letting the F 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.
Ceylan Ertem - Uçurtma (Cihan Murtezaoglu) 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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