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)
Yıldız Tilbe - Ummadığım Anda - Chord
Key F major – D minor Chords Gm, Am, Bb, C, Dm, D7, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Bb Am Gm
Mektupları resimleri kaldıramam ki
C Bb Gm Am
Sevdim seni başkasına yar edemem ki
Dm D7 Gm
İki dünya bir araya gelse imkansız
C Bb Gm Am
Seni benden başkasıyla düşünemem ki
F D7 Gm
Sevgilim kıskanırlar, yalanlar anlatırlar
Bb Am
Bizi ayıramazlar, aşkın dizinden
Dm D7 Gm
Ben düşerken yükseklerden uçurumlara
C Bb Gm Am
Aşkın tuttu ellerimden ummadığım anda
Dm Gm
Şimdi senle hayat rüya düşlerim gerçek
C Bb Gm Am
Sanki ben hiç yaşamadım seni tanıyana dek
Am Bb Am Gm
Bahar dalı çiçek dili yeşilin rengi
C Bb Gm Am
Anlatmanın imkanı yok güzelliğini
Dm D7 Gm
Sana susuz açım sana hastayım sana
C Bb Gm Am
Hiçbir sebep seni benden ayıramaz ki
F D7 Gm
Sevgilim kıskanırlar, yalanlar anlatırlar
Bb Am
Bizi ayıramazlar, aşkın dizinden
Dm D7 Gm
Ben düşerken yükseklerden uçurumlara
C Bb Gm Am
Aşkın tuttu ellerimden ummadığım anda
Dm Gm
Şimdi senle hayat rüya düşlerim gerçek
C Bb Gm Am
Sanki ben hiç yaşamadım seni tanıyana dek
Not: Şarkıdaki D7'ler ekstra, basarsanız çok güzel tınlıyor.
End of song Play again?
Yıldız Tilbe - Ummadığım Anda Tabs
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Harmony analysis
Yıldız Tilbe – Ummadığım Anda: key and chord analysis
The song opens on Am and ends on Am. 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 Dm is heard 6 times against 2 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 | 2× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | 18× |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 14× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 12× |
| V | C | Dominant — strongest pull home | C · E · G | 8× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 6× |
| V7/ii | D7 | Secondary dominant V/ii — leads to Gmsecondary dominant | D · F# · A · C | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 6× |
| V7/iv | D7 | Secondary dominant V/iv — leads to Gmsecondary dominant | D · F# · A · C | 6× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 2× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | 18× |
| v | Am | Minor dominant — soft pull | A · C · E | 14× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 12× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 8× |
Analysis
The key pair is F major and its relative D minor (1 flat). 7 different chords appear 66 times in total; 6 of them sit naturally inside the shared scale. D7 acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Gm C Fii → Vii → V Dmiv → VII ×8
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×6
- D7 Gm FV7/ii → iisecondary resolution DmV7/iv → iv ×6
The move to watch is Gm → C, heard 8 times. From the Dm side it is iv → VII; from the F side it reads ii → V (ii → V: the classic preparation of the dominant). 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 Gm, land on G, Bb, D — 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 Bb, land on Bb, D, F — 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
- 5 semitones down · capo 5 keeps the original pitch
- 2 semitones up
The song's harmonic story
The opening Am lays a solid floor for everything that follows. The chords that keep coming back are Gm, Am, Bb, C; read them as ii–iii–IV–V in F or iv–v–VI–VII in Dm. D7 adds a moment of surprise: secondary dominant V/ii — leads to Gm. Keep an ear on Gm → C (ii → V in F, iv → VII in Dm): ii → V — the classic preparation of the dominant. It closes on Am, 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.
Yıldız Tilbe - Ummadığım Anda 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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Lyrics: Yıldız TilbeMusic: Yıldız Tilbe
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