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)
Barış Kocatürk - Sararmış Kağıt - Chord
Key F major – D minor Chords A7, Dm7, Bb7 Easy key G
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Key: F | Dm
Capo: 0
Dm7 A7
Sararmış bir kağıt parçasında, seni sevdiğimi yazmıştım ya
Bb7 A7
İşte o kağıt şuan cüzdanımda
Dm7 A7
Uzun ince bir çizgi gibi yürüdüğüm yollar var
Bb7 A7
Kesin emin dolu olduğum kadar
Dm7 A7
Geçmişe gizlenen bir kadın var, beni arkamdan bıçaklar
Bb7 A7
Derin sıcak beni içimden yakar, kanım akar
Dm7 A7
Gecemi yakan bir kadın var, anılarımı sarıp sarmalar
Bb7 A7
Ezer üzer beni içimden yakar, hesap sorar
Dm7 A7
Kaybolmuş hayatın avuçlarında, buselerin hala yanağımda
Bb7 A7
Yok olurum aniden, varırım senin yanına
Dm7 A7
Hadi gel kurtar artık beni, çünkü içim çok özledi seni
Bb7 A7
Yolculuk zamanı bitti, dön geri
End of song Play again?
Barış Kocatürk - Sararmış Kağıt Tabs
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Harmony analysis
Barış Kocatürk – Sararmış Kağıt : key and chord analysis
The song opens on Dm7 and ends on A7. 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 opens on Dm, Dm is heard 6 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 | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | — |
| V7/vi | A7 | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E · G | 12× |
| IV7 | Bb7 | Chromatic colour chordoutside the key | Bb · D · F · Ab | 6× |
| V | C | Dominant — strongest pull home | C · E · G | — |
| vi7 | Dm7 | Relative minor — the melancholy side | D · F · A · C | 6× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i7 | Dm7 | Tonic — home | D · F · A · C | 6× |
| 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 | — |
| v | Am | Minor dominant — soft pull | A · C · E | — |
| V7 | A7 | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E · G | 12× |
| VI7 | Bb7 | Chromatic colour chordoutside the key | Bb · D · F · Ab | 6× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | — |
Analysis
The key pair is F major and its relative D minor (1 flat). 3 different chords appear 24 times in total; 1 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 A7 is V7/vi, a secondary dominant heading for Dm. Bb7 step outside the scale as colour chords.
Chord movement
- A7 Dm7 FV7/vi → vi7secondary resolution DmV7 → i7harmonic-minor cadence ×5
The move to watch is A7 → Dm7, heard 5 times. From the Dm side it is V7 → i7 (harmonic-minor cadence: the major V resolves dramatically); from the F side it reads V7/vi → vi7 (secondary resolution: A7 resolves a fourth up to Dm7). 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 A7, land on A, C#, E — the chord's own tones always sound right on strong beats.
- Over Dm7, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Bb7, land on Bb, D, F — the chord's own tones always sound right on strong beats.
- When A7 comes, swap the scale's C for C#: that single note is the harmonic-minor sound of the chord.
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 Dm7, the song gives away its key from the very first bar. A7, Dm7, Bb7 carry the song: V7/vi–vi7–IV7 relative to F, V7–i7–VI7 relative to Dm. A7 is the interesting twist: in F it is a chromatic chord (V7/vi), while in Dm it becomes the dominant (V7) that makes the minor side sound so determined. Keep an ear on A7 → Dm7 (V7/vi → vi7 in F, V7 → i7 in Dm): harmonic-minor cadence — the major V resolves dramatically. The final chord is A7; the ear comes to rest in F.
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.
Barış Kocatürk - Sararmış Kağıt 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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