Gülşen - Kardan Adam - Chord

Key F major – D minor Chords Am, Bb, Dm, C, Gm Easy key C (capo 5)

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Capo 0

Dm  Dm  Gm  Am

Dm                Am          Bb         Am
Sen bana akıl ver Allah'ım bende esamesi yok
C              Gm              C             Bb
Doğru olabilir mi gördüklerim, bir malumatım yok
Dm             Am              Bb       Am
Geliyorum demedin sen de her kaza gibi ani
C               Gm            C             Bb
Hasar büyük, kalbim gidiyor elden, âşığım yani

Am            Dm
Uzun boyundan mı
Bb             C
Serin suyundan mı
Bb             Gm
Zamansız olman mı
             Am
Seni sen yapıyor

C                                               Gm
Zaten aşk ne zaman doğru zaman kollar, hiçbir zaman
      Dm            Bb                         Am
Dağ gibi duranı istemez, ah sever kalp kardan adam
C                                         Gm
O erir üstüme, erisin, ben çoktan sırılsıklam
    Dm               Bb
Olmuşum, ölmüşüm, bitmişim
                      Am
Budur aşkta en cazip olan

End of song Play again?

Gülşen - Kardan Adam Tabs

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Harmony analysis

Gülşen – Kardan Adam: key and chord analysis

The song opens on Dm and ends on Am. Its chords belong to both F major and Dm, so every chord below is read both ways.

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)

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 it opens on Dm and Dm is heard 7 times while F never appears. 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.

Seen from F major
Degree	Chord	Role	Notes	In song
I	F	Tonic — home	F · A · C	—
ii	Gm	Supertonic — prepares the dominant	G · Bb · D	6×
iii	Am	Mediant — a tonic-family shade	A · C · E	9×
V/vi	A	Secondary dominant V/vi — leads to Dmsecondary dominant	A · C# · E	—
IV	Bb	Subdominant — moves away from home	Bb · D · F	8×
V	C	Dominant — strongest pull home	C · E · G	7×
vi	Dm	Relative minor — the melancholy side	D · F · A	7×
vii°	Edim	Leading-tone chord — tension	E · G · Bb	—

Seen from D minor
Degree	Chord	Role	Notes	In song
i	Dm	Tonic — home	D · F · A	7×
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	6×
v	Am	Minor dominant — soft pull	A · C · E	9×
V	A	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	A · C# · E	—
VI	Bb	Submediant — warm colour	Bb · D · F	8×
VII	C	Subtonic — steps back to the tonic	C · E · G	7×

Analysis

The key pair is F major and its relative D minor (1 flat). 5 different chords appear 37 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

Gm Dm Fii → vi Dmiv → iminor plagal ×2
Am Dm Fiii → vi Dmv → inatural-minor cadence ×2
Gm C Fii → Vii → V Dmiv → VII ×2
Bb Dm FIV → vi DmVI → iVI → i ×1
Bb C FIV → VIV → V DmVI → VIIVI → VII ×1

The move to watch is Gm → Dm, heard 2 times. From the Dm side it is iv → i (minor plagal: deep and melancholic); from the F side it reads ii → 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

Starting on Dm, the song gives away its key from the very first bar. The backbone is Am, Bb, Dm, C — iii–IV–vi–V from the F side, v–VI–i–VII from the Dm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Gm → Dm (ii → vi in F, iv → i in Dm): minor plagal — deep and melancholic. 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.