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)
Volkan Konak - Doğrudur - Chord
Key Bb major – G minor Chords Dm, F, Eb, Cm7, Gm, Cm, Bb, Am Easy key C
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Key: Bb | Gm
Capo: 0
Dm Dm Dm Eb
Bb Cm F F Gm F Eb
Gözüm arkada kaldı, yüreğim sende kaldı
Bb Cm F F Gm Am Cm
Gözüm arkada kaldı, yüreğim sende kaldı
Gm Eb
Ateşinin adı kül, benimki sensin
F Cm7 Dm
Bu sevdalık tenimde, gizlenen sensin
Gm Eb
Avuçlarında ısıt resimlerimi
F Cm7 Dm
Deli gibi her gece özlenen sensin
Dm Eb Dm
Çıkıp çıkıp aşkın meydanına
Eb Dm
İsmini bağıra bağıra
F Eb
İçimi çeke çeke, seviyorum diye diye
Dm Cm7 Dm
Ağladığım doğrudur
F Eb
Kalbimin içine senin adını adını
Dm Cm7 Dm
Yazdirdigum doğrudur
F F Eb Eb Dm Dm Cm7 Dm
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Volkan Konak - Doğrudur Tabs
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Harmony analysis
Volkan Konak – Doğrudur: key and chord analysis
The song opens on Dm 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 Gm is heard 4 times against 2 for Bb. 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 | 2× |
| ii7 | Cm7 | Supertonic — prepares the dominant | C · Eb · G · Bb | 5× |
| ii | Cm | Supertonic — prepares the dominant | C · Eb · G | 3× |
| iii | Dm | Mediant — a tonic-family shade | D · F · A | 15× |
| V/vi | D | Secondary dominant V/vi — leads to Gmsecondary dominant | D · F# · A | — |
| IV | Eb | Subdominant — moves away from home | Eb · G · Bb | 10× |
| V | F | Dominant — strongest pull home | F · A · C | 11× |
| vi | Gm | Relative minor — the melancholy side | G · Bb · D | 4× |
| vii° | Adim | Leading-tone chord — tension | A · C · Eb | — |
| vii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| Degree | Chord | Role | Notes | In song |
|---|---|---|---|---|
| i | Gm | Tonic — home | G · Bb · D | 4× |
| ii° | Adim | Supertonic — prepares the dominant | A · C · Eb | — |
| ii | Am | Chromatic colour chordoutside the key | A · C · E | 1× |
| III | Bb | Relative major — the bright side | Bb · D · F | 2× |
| iv7 | Cm7 | Subdominant — moves away from home | C · Eb · G · Bb | 5× |
| iv | Cm | Subdominant — moves away from home | C · Eb · G | 3× |
| v | Dm | Minor dominant — soft pull | D · F · A | 15× |
| V | D | Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor | D · F# · A | — |
| VI | Eb | Submediant — warm colour | Eb · G · Bb | 10× |
| VII | F | Subtonic — steps back to the tonic | F · A · C | 11× |
Analysis
The key pair is Bb major and its relative G minor (2 flats). 8 different chords appear 51 times in total; 7 of them sit naturally inside the shared scale. Am step outside the scale as colour chords.
Chord movement
- Eb Bb BbIV → Iplagal cadence GmVI → III ×2
- F Gm BbV → videceptive cadence GmVII → iAeolian arrival ×2
- Cm F Bbii → Vii → V Gmiv → VII ×2
- Eb F BbIV → VIV → V GmVI → VIIVI → VII ×2
- Cm Gm Bbii → vi Gmiv → iminor plagal ×1
- Dm Gm Bbiii → vi Gmv → inatural-minor cadence ×1
The move to watch is Eb → Bb, heard 2 times. From the Gm side it is VI → III; from the Bb side it reads IV → I (plagal cadence: the soft 'amen' ending). 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 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.
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
Starting on Dm, the song gives away its key from the very first bar. The chords that keep coming back are Dm, F, Eb, Cm7; read them as iii–V–IV–ii7 in Bb or v–VII–VI–iv7 in Gm. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Eb → Bb (IV → I in Bb, VI → III in Gm): plagal cadence — the soft 'amen' ending. The final chord is Dm; the ear comes to rest in Bb.
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.
Volkan Konak - Doğrudur 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: Hakkı YalçınMusic: Ceyhun ÇeliktenArrangement: Ceyhun Çelikten
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