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)
Yol'a Düş - Gelme Ey Ecel - Chord
Key F major – D minor Chords Am, Bb, Dm, C, F Easy key C (capo 5)
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Key: F | Dm
Capo: 0
Am Bb Am
Güzelsin gördüğüm ilk günden beri
F Am
Güzelsin gördüğüm ilk günden beri
Dm C Bb Am
Gözlerin bu gece bir başka güzel
Am Bb Am
Soluğun açtırır gonca gülleri
F Am
Soluğun açtırır gonca gülleri
Dm C Bb Am
Çağırır beni de bu aşka güzel
Am F Am
Bu gece düşlerim dehşetli güzel
Dm C Bb Am
Uzak dur bu gece gelme ey ecel
Dm Dm C Bb Am
Am Bb Am
Kadehler boyunca bir türkü sözü
F Am
Kadehler boyunca bir türkü sözü
Dm C Bb Am
Kaynatır yürekte harlanan közü
Am Bb Am
Koynumda yıldızlar ben de gökyüzü
F Am
Koynumda yıldızlar ben de gökyüzü
Dm C Bb Am
Sevdanın bin hali bu başta güzel
Am F Am
Bu gece düşlerim dehşetli güzel
Dm C Bb Am
Uzak dur bu gece gelme ey ecel
Am Bb Am
Yıkılır köprüler yıkılmaz değil
F Am
Yıkılır köprüler yıkılmaz değil
Dm C Bb Am
Yakılır gemiler yakılmaz değil
Am Bb Am
Yusuf san kuyudan çıkılmaz değil
F Am
Bu kara günlerden çıkılmaz değil
Dm C Bb Am
Revadır bin ceza bu başa güzel
Am F Am
Bu gece düşlerim dehşetli güzel
Dm C Bb Am
Uzak dur bu gece gelme ey ecel
End of song Play again?
Yol'a Düş - Gelme Ey Ecel Tabs
NotesX
Harmony analysis
Yol'a Düş – Gelme Ey Ecel: 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 11 times against 9 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 | 9× |
| ii | Gm | Supertonic — prepares the dominant | G · Bb · D | — |
| iii | Am | Mediant — a tonic-family shade | A · C · E | 34× |
| V/vi | A | Secondary dominant V/vi — leads to Dmsecondary dominant | A · C# · E | — |
| IV | Bb | Subdominant — moves away from home | Bb · D · F | 16× |
| V | C | Dominant — strongest pull home | C · E · G | 10× |
| vi | Dm | Relative minor — the melancholy side | D · F · A | 11× |
| vii° | Edim | Leading-tone chord — tension | E · G · Bb | — |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Dm | Tonic — home | D · F · A | 11× |
| ii° | Edim | Supertonic — prepares the dominant | E · G · Bb | — |
| III | F | Relative major — the bright side | F · A · C | 9× |
| iv | Gm | Subdominant — moves away from home | G · Bb · D | — |
| v | Am | Minor dominant — soft pull | A · C · E | 34× |
| V | A | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | A · C# · E | — |
| VI | Bb | Submediant — warm colour | Bb · D · F | 16× |
| VII | C | Subtonic — steps back to the tonic | C · E · G | 10× |
Analysis
The key pair is F major and its relative D minor (1 flat). 5 different chords appear 80 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
- Am Dm Fiii → vi Dmv → inatural-minor cadence ×10
The move to watch is Am → Dm, heard 10 times. From the Dm side it is v → i (natural-minor cadence: gentle, modal arrival); from the F side it reads iii → vi. 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 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.
- Over Dm, land on D, F, A — 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 Am, Bb, Dm, C; read them as iii–IV–vi–V in F or v–VI–i–VII in Dm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Am → Dm (iii → vi in F, v → i in Dm): natural-minor cadence — gentle, modal arrival. 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.
Yol'a Düş - Gelme Ey Ecel 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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