Kargo - Yıllar Sonra - Chord

Key F major – D minor Chords E, F#m, A, Bm, C#, D Easy key Ab

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Capo 0

A              C#          F#m        Bm        E
Sarsam sarsam seni kollarımla, duysam yine nefesini
A                C#           F#m               Bm   E
Hatırla okul günlerimizi, ayrılmaz bir çifttik senle
A              C#           F#m          Bm    E
Şimdi ayrıldık ama hala seviyorum, istiyorum seni

          A           E          F#m           D    E
Yıllar sonra yıllar sonra yıllar sonra, yine eskisi gibi

A               C#              F#m             Bm         E
Beraber olalım desem, yine eskisi gibi, paylaşsak tüm sevgimizi
A               C#              F#m            Bm       E
Beraber olalım desem, bir tebessümle, çıksam yine karşına

          A           E          F#m           D    E
Yıllar sonra yıllar sonra yıllar sonra, yine eskisi gibi

Bm               C#             F#m               Bm           E
Şimdi anladım tüm gerçekleri, suç belki bende, gizledim sevdiğimi

          A           E          F#m           D    E
Yıllar sonra yıllar sonra yıllar sonra, yine eskisi gibi

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Kargo - Yıllar Sonra Tabs

NotesX

Harmony analysis

Kargo – Yıllar Sonra: key and chord analysis

The song opens on A and ends on E. 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)
#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 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
bii	F#m	Chromatic colour chordoutside the key	F# · A · C#	9×
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	—
iii	Am	Mediant — a tonic-family shade	A · C · E	—
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	8×
IV	Bb	Subdominant — moves away from home	Bb · D · F	—
#iv	Bm	Chromatic colour chordoutside the key	B · D · F#	7×
V	C	Dominant — strongest pull home	C · E · G	—
bVI	C#	Borrowed from the parallel minorborrowed chord	C# · E# · G#	6×
vi	Dm	Relative minor — the melancholy side	D · F · A	—
VI	D	Chromatic colour chordoutside the key	D · F# · A	3×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—
V/iii	E	Secondary dominant V/iii — leads to Amsecondary dominant	E · G# · B	12×

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	—
I	D	Chromatic colour chordoutside the key	D · F# · A	3×
ii°	Edim	Supertonic — prepares the dominant	E · G · Bb	—
V/v	E	Secondary dominant V/v — leads to Amsecondary dominant	E · G# · B	12×
III	F	Relative major — the bright side	F · A · C	—
#iii	F#m	Chromatic colour chordoutside the key	F# · A · C#	9×
iv	Gm	Subdominant — moves away from home	G · Bb · D	—
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	8×
VI	Bb	Submediant — warm colour	Bb · D · F	—
#vi	Bm	Chromatic colour chordoutside the key	B · D · F#	7×
VII	C	Subtonic — steps back to the tonic	C · E · G	—
#VII	C#	Chromatic colour chordoutside the key	C# · E# · G#	6×

Analysis

The key pair is F major and its relative D minor (1 flat). 6 different chords appear 45 times in total; 0 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. E acts as a secondary dominant, briefly pointing at another chord of the key. C# 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 E, land on E, G#, B — the chord's own tones always sound right on strong beats.
Over F#m, land on F#, A, C# — the chord's own tones always sound right on strong beats.
Over A, land on A, C#, E — 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 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

3 semitones up
2 semitones down · capo 2 keeps the original pitch

The song's harmonic story

The opening A lays a solid floor for everything that follows. The chords that keep coming back are E, F#m, A, Bm; read them as V/iii–bii–V/vi–#iv in F or V/v–#iii–V–#vi in Dm. E is the interesting twist: in F it is a chromatic chord (V/iii), while in Dm it becomes the dominant (V/v) that makes the minor side sound so determined. It closes on E, 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.