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)
Anonim - Hastane Önünde İncir Ağacı - Chord
Key F major – D minor Chords Dm, F, C, Gm, Cm Easy key G
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Key: F | Dm
Capo: 0
Dm F C F Dm C F Hastane önünde incir ağacı, anam ağacı Gm F C Dm Cm Dm Doktor bulamadı bana ilacı, anam ilacı Dm F C F Dm C F Baştabip geliyor zehirden acı, anam vay acı Gm F C Dm Cm Dm Garip kaldım yüreğime dert oldu, anam dert oldu Gm F C Dm Cm Dm Ellerin vatanı bana yurt oldu, anam yurt oldu Dm F C F Dm C F Mezarımı kazın bayıra düze, anam vay düze Gm F C Dm Cm Dm Yönünü çevirin sıladan yüze, anam vay yüze Dm F C F Dm C F Benden selam söyle sevdiğimize, sevdiğimize Gm F C Dm Cm Dm Başına koysun karalar bağlasın, anam ağlasın Gm F C Dm Cm Dm Gurbet elde kaldım diye ağlasın, anam ağlasın Gm F C Dm Cm Dm Garip kaldım yüreğime dert oldu, anam dert oldu Gm F C Dm Cm Dm Ellerin vatanı bana yurt oldu, anam yurt oldu
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Anonim - Hastane Önünde İncir Ağacı Tabs
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Harmony analysis
Anonim – Hastane Önünde İncir Ağacı: 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.
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 24 times against 20 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.
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| I | F | Tonic — home | F · A · C | 20× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 8× |
| 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 | — |
| V | C | Dominant — strongest pull home | C · E · G | 16× |
| v | Cm | Chromatic colour chordoutside the key | C · Eb · G | 8× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 24× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 24× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 20× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 8× |
| 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 | — |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 16× |
| vii | Cm | Chromatic colour chordoutside the key | C · Eb · G | 8× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 76 times in total; 4 of them sit naturally inside the shared scale. Cm step outside the scale as colour chords.
Chord movement
- C F FV → Iauthentic cadence DmVII → III ×8
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×8
The move to watch is C → F, heard 8 times. From the Dm side it is VII → III; from the F side it reads V → I (authentic cadence: the strongest arrival 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 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 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
- 5 semitones down · capo 5 keeps the original pitch
The song's harmonic story
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, F, C, Gm; read them as vi–I–V–ii in F or i–III–VII–iv in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on C → F (V → I in F, VII → III in Dm): authentic cadence — the strongest arrival home. The final chord is Dm; the ear comes to rest in Dm.
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.
Anonim - Hastane Önünde İncir Ağacı 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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