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)
Feridun Düzağaç - Söz ver - Chord
Key F major – D minor Chords Dm, C, Bb, Gm, A, Eb, Cm Easy key G
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Key: F | Dm
Capo: 0
Dm Bb Gm Bb C Dm Bb İnanırdım duyduğum her söze C Dm Bir zamanlar saflık vardı C Dm Şimdi yerim yok aldanmaya Bb A Bir hayat sıradanı kalbim Dm Bb Bana bitmeyen bir tek şey söyle C Dm Söyle sonsuza inanayım C Dm Bana nasıl seveceğimi anlat Bb C A Aşk karlı yokuş yorulmayalım Gm Dm Söz ver, durma öyle bana söz ver Gm Dm Bakışına kanmam artık söz ver Gm Eb Çok zor soru değil bu hadi çöz ver Cm Dm Birlikte ölecek miyiz Dm Bb Hadi beni biraz heyecanlandır C Dm Yüzüm gülmüyor çoktandır C Dm Ben kaybetmekten çok korkarım Bb C A Tüm alışkanlıklar çocukluktandır Gm Dm Geleceksin belki çok seveceksin Gm Dm Zamanı gelince gideceksin C Eb Bir keşkeye daha yer yok kalbimde Cm Dm Birlikte ölecek miyiz
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Feridun Düzağaç - Söz ver Tabs
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Harmony analysis
Feridun Düzağaç – Söz ver: 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)
- #7 = C# (harmonic-minor leading tone from the V chord)
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, Dm is heard 16 times while F never appears and the major V chord points straight at Dm. 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 | — |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 6× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | 3× |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 8× |
| V | C | Dominant — strongest pull home | C · E · G | 10× |
| v | Cm | Chromatic colour chordoutside the key | C · Eb · G | 2× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 16× |
| bVII | Eb | bVII — borrowed (Mixolydian / parallel minor)borrowed chord | Eb · G · Bb | 2× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 16× |
| bII | Eb | Neapolitan bII — a dark, dramatic colour a half step above the tonicborrowed chord | Eb · G · Bb | 2× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | — |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 6× |
| 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 | 3× |
| VI | Bb | Submediant — warm colour | Bb · D · F | 8× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 10× |
| 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). 7 different chords appear 47 times in total; 4 of them sit naturally inside the shared scale. The major V of Dm brings the harmonic-minor leading tone, giving the minor side a sharper, more dramatic pull; seen from F, the same A is V/vi, a secondary dominant heading for Dm. Eb is borrowed from the parallel minor, adding a darker shade to the major side.
Chord movement
- C Dm FV → videceptive cadence DmVII → iAeolian arrival ×7
- Bb C FIV → VIV → V DmVI → VIIVI → VII ×6
- Gm Dm Fii → vi Dmiv → iminor plagal ×4
- A Dm FV/vi → vi DmV → iharmonic-minor cadence ×1
The move to watch is C → Dm, heard 7 times. From the Dm side it is VII → i (Aeolian arrival: rises a whole tone into home); from the F side it reads V → vi (deceptive cadence: expected F, lands on Dm). 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 C, land on C, E, G — 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.
- When A comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
- On Eb, follow the chord's notes (Eb · G · Bb) 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. The backbone is Dm, C, Bb, Gm — vi–V–IV–ii from the F side, i–VII–VI–iv from the Dm side. A is the interesting twist: in F it is a chromatic chord (V/vi), while in Dm it becomes the dominant (V) that makes the minor side sound so determined. Keep an ear on C → Dm (V → vi in F, VII → i in Dm): Aeolian arrival — rises a whole tone into home. 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.
Feridun Düzağaç - Söz ver 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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