Major view
Bb major
Brightness rank 2/7 (bright)
Characteristic notes
- 7 = A (leading tone, pulls home)
- 4 = Eb (the note that leans on the 3rd)
Ayfer Vardar - Dayan Yüreğim - Chord
Key Bb major – G minor Chords F, Eb, Gm, Dm, C Easy key G (capo 3)
No ratings yet
or your user informations
Make it yours
Text size
Key: Bb | Gm
Capo: 0
Gm Giderum dalga gibi F Eb Bir ileri bir geri Gm Koca karadenuzun F Eb Dm Yok mudur bana da yeri F Eb Baktumda göremedun F Eb Yüreğimu sen felek F Gm Oturupta ağlarsun C F Derdimi bilsen felek Eb Dm Dayan yüreğum dayan Eb Dm Dayan yüreğum Gm Bu haftalar ay oldu F Eb Aylarda sene olsun Gm Bırakup gittin benu F Eb Dm Gülüm daha ne olsun F Eb Günlerum gelur geçer F Eb Dünyada yeller gibi F Gm Ne Buyuk izdiraptur C F Bakarsun eller Gibi Eb Dm Dayan yüreğum dayan Eb Dm Dayan yüreğum
End of song Play again?
Ayfer Vardar - Dayan Yüreğim Tabs
NotesX
Harmony analysis
Ayfer Vardar – Dayan Yüreğim: key and chord analysis
The song opens on Gm and ends on Dm. Its chords belong to both Bb major and Gm, so every chord below is read both ways.
Minor view
G minor
Brightness rank 5/7 (leaning dark)
Characteristic notes
- b6 = Eb (the minor's melancholy)
- b7 = F (natural-minor colour)
Which side does the ear lean to?
Our reading: to us the song feels closer to the G minor side because it opens on Gm and Gm is heard 6 times while Bb never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Bb 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 Bb or to Gm; 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 | Bb | Tonic — home | Bb · D · F | — |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | — |
| V/V | C | Secondary dominant V/V — leads to Fsecondary dominant | C · E · G | 2× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 6× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 12× |
| V | F | Dominant — strongest pull home | F · A · C | 12× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 6× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 6× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| III | Bb | Relative major — the bright side | Bb · D · F | — |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | — |
| IV | C | Major IV — Dorian / melodic-minor colourmodal colour | C · E · G | 2× |
| v | Dm | Minor dominant — soft pull | D · F · A | 6× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 12× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 12× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 38 times in total; 4 of them sit naturally inside the shared scale. C acts as a secondary dominant, briefly pointing at another chord of the key.
Chord movement
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×4
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2
- Eb Gm BbIV → vi GmVI → iVI → i ×2
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is Eb → F, heard 4 times. From the Gm side it is VI → VII (VI → VII: the rising step that heads for the tonic); from the Bb side it reads IV → V (IV → V: the lift that builds tension before home). Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.
Improvisation tips
- Bb major pentatonic and G minor pentatonic are the same five notes (Bb – C – D – F – G): start from Bb for a brighter phrase, from G for a bluesier one.
- Over F, land on F, A, C — the chord's own tones always sound right on strong beats.
- Over Eb, land on Eb, G, Bb — the chord's own tones always sound right on strong beats.
- Over Gm, land on G, Bb, D — 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 Bb major shapes
- Capo 1 + A shapes
- Capo 3 + G shapes
- Capo 6 + E shapes
With G minor shapes
- Capo 3 + Em shapes
- Capo 5 + Dm shapes
Easiest keys on guitar
- 3 semitones down · capo 3 keeps the original pitch
- 2 semitones up
The song's harmonic story
Starting on Gm, the song gives away its key from the very first bar. The chords that keep coming back are F, Eb, Gm, Dm; read them as V–IV–vi–iii in Bb or VII–VI–i–v in Gm. C adds a moment of surprise: secondary dominant V/V — leads to F. Keep an ear on Eb → F (IV → V in Bb, VI → VII in Gm): VI → VII — the rising step that heads for the tonic. It closes on Dm, letting the Bb 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.
Ayfer Vardar - Dayan Yüreğim 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.
Find something to play next
Ready-made lists by difficulty and mood.
Report error for this content report.
All copyrights belong to their respective owners. If you think this content contains copyright infringement, please contact us.