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)
Feridun Düzağaç - Dinle - Chord
Key Bb major – G minor Chords Dm, Cm, Eb, Gm, F Easy key C
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Key: Bb | Gm
Capo: 0
Dm
Dm
Kurda kuşa yem oldum
Cm
Yalnızlar ormanında kayboldum
Dm
Gecenin ayazında
Cm
Kor gibi yanıp kül oldum
Gm F
Yangınlarda yangınlardayım
Cm Eb Dm
Sönmedi hala içimde ateş farkındayım
Gm F
Her neredeysen ben de oradayım
Cm Eb Dm
Doğmadı güneş daha burada farkındayım
Eb Dm Eb
Aaaaa, dinle, aaaa
Eb Dm Eb Cm
Aaaaa, dinle, aaaaaa
Gm
Lalarararayray
Dm
Lalarararayray
F Cm
Yaram derin içimde
Gm
Lalarararayray
Dm
Lalarararayray
F Cm
Gecelerin üçünde
Dm
Dm
Kurda kuşa yem oldum
Cm
Hiç yokmuşum gibi unutuldum
Dm
Yıldızları sayarken
Cm
Aşka inanıp mecnun oldum
Gm F
Özleminde, çöllerindeyim
Cm Eb Dm
Yağmadı yağmur daha burada, hasretteyim
Gm F
Her kimleysen bil ki yalnızım
Cm Eb Dm
Sarmadı beni yabancı kollar peşindeyim
Eb Dm Eb
Aaaaa, dinle, aaaa
Eb Dm Eb Cm
Aaaaa, dinle, aaaaaa
Gm
Lalarararayray
Dm
Lalarararayray
F Cm
Yaram derin içimde
Gm
Lalarararayray
Dm
Lalarararayray
F Cm
Gecelerin üçünde
Gm
Lalarararayray
Dm
Lalarararayray
F Cm
Yaram derin içimde
Gm
Lalarararayray
Dm
Lalarararayray
F Cm
Ne söylesem nafile
End of song Play again?
Feridun Düzağaç - Dinle Tabs
NotesX
Harmony analysis
Feridun Düzağaç – Dinle: key and chord analysis
The song opens on Dm and ends on Cm. 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 Gm is heard 10 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 | 16× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 20× |
| 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 | 10× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 10× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 10× |
| 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 | 16× |
| v | Dm | Minor dominant — soft pull | D · F · A | 20× |
| 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 | 10× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 5 different chords appear 68 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.
Chord movement
- Cm Gm Bbii → vi Gmiv → iminor plagal ×8
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×2
The move to watch is Cm → Gm, heard 8 times. From the Gm side it is iv → i (minor plagal: deep and melancholic); from the Bb side it reads ii → vi. 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 Dm, land on D, F, A — the chord's own tones always sound right on strong beats.
- Over Cm, land on C, Eb, G — 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.
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
- 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 chords that keep coming back are Dm, Cm, Eb, Gm; read them as iii–ii–IV–vi in Bb or v–iv–VI–i in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Cm → Gm (ii → vi in Bb, iv → i in Gm): minor plagal — deep and melancholic. It closes on Cm, 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.
Feridun Düzağaç - Dinle 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: Ata AkdağMusic: Ata Akdağ
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